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D R AW I N G O N S T Y L E 2016 Gallery 8, 8 Duke Street St James’s, London SW1Y 6BN

14th September 2016 By Appointment 15th – 20th September 2016 10.00am – 6.30pm GRAY M.C.A | 1



Fashion Illustration is back! As if by magic, fashion illustration is returning as today’s fashion editors look to illustrators to bring something fresh and innovative to their pages. Yet, the elegance and beauty of fashion illustration is certainly not new. For many years the names of Gruau, Bouché, Eric, Simon, Mourge, Blossac, Bérard, Landels, Block and Lopez had virtually been forgotten. Their work archived in the portfolios of the fashion and art schools where they trained in their youth or lovingly kept amongst a devoted, almost secret circle of admirers who were attuned to the rarity of the original drawings of the period. But now, year on year there is a renewed surge of interest in these original ‘masters’ as the contemporary eye is refocused on the drama of original fashion illustration. Through out the golden age of fashion illustration (1930s – 70s), these ‘masters’ were commissioned to illustrate the couture and ready to wear collections each season in Paris and later New York and their work graced the front covers and pages of Vogue and Harpers Bazaar, The New York Times, L’Officiel, Jardin Des Modes, Elle, W Magazine and Women’s Wear Daily. Saks 5th Avenue in the US was a huge advocate of using illustrators and understood better than almost anyone the power of a great illustrative piece. In the world of beauty, Elizabeth Arden frequently invited illustrators to draw her latest product, most notably American artist Henry Koehler, who’s work appeared in Town and Country and The New Yorker throughout the 1950s and 60s. Yet through out their careers these great fashion illustrators rarely became household names. Commercial artist was strictly their title. Even the great Diane Vreeland would call imperiously for ‘the sketcher’ rather than by their own name! In today’s world, when looking at a fashion story in a magazine or newspaper, more often than not the photographer behind the lens goes almost unnoticed unless the story is shot by one of todays greats such as Mario Testino, Annie Leibovitz or Nick Knight. In earlier years the illustrators’ names were equally underplayed. Of paramount importance was their ability to translate the next season’s look into a beautiful alluring image that every woman could imagine becoming if she too wore that suit, scent or evening dress. In truth, they were the unsung hero’s of the fashion world.

But what made a fashion illustrator into a master? The key was the training they received at Art School. The artists spent hour upon hour drawing from life, day in and day out until they understood every nuance of the life form, coupled with their natural flair for understanding the drape of fabric and cut of a bias. This along side their ingenious ability to work at high speed, even sometimes from memory, was the key to being a true master. Each artist naturally developed an individual style. Some used a gentle humour such as Bouché, others a distinctive line as Gruau and Simon. Gruau sealed his name in fashion illustration history following his commission by Dior to illustrate the first Miss Dior advertisement in 1947; he chose the now iconic image of the white swan, black bow and pearls. Bérard’s success in the theatrical world translated to his fashion style, whilst others explored the use of a backdrop to set the scene, most notably Eric, who was the first to use this technique by bringing a realism to fashion illustration. Eric was the industry’s most important post war inspiration as the artist others most aspired to be compared to, right up to the 1970s.

...Introduction As photography reigned supreme into the 1970s and fashion illustration slipped from the mainstream, two names bucked the trend. Lopez and Block. Lopez’s exuberant style was both political and radical. He illustrated perfectly the vital form of expression, electricity and colour that New York pulsed to at the time, leading to continual work with Elle and his great champion Woman’s Wear Daily. Kenneth Paul Block blended fashion illustration and portraiture with exquisitely fluent high-energy sketches that captured the sophistication of the era’s socialites and celebrities. As chief features artist for WWD he helped transform the once dowdy W. Magazine into the bible of the jet set during the 1960s and 70s. It was to Block that Diane Vreeland turned to when she launched her first exhibit at the Metropolitan Museum of Arts by commissioning him to draw the exhibition poster for Cristobal Balenciaga. Fast-forward to today and as contemporary fashion illustration goes from strength to strength, today’s contemporary illustrators are taking inspiration from these original ‘masters’. In the US one name stands out as a ‘contemporary master’.

Bil Donovan. A true artist. With not only a natural raw talent for depicting beauty and elegance within the world of fashion but also, and perhaps most importantly, an acute understanding of the importance of drawing from life. His remarkable relationship with his brush and ink captures the essence and spirit of a moment in just a few intensely beautiful brush strokes. His unique work has lead him to being appointed the first Artist in Residence for Dior Beauty. Championing contemporary illustration in the UK is SHOWstudio, an award-winning fashion website, established in November 2000 by Nick Knight. Its innovative and ground breaking projects have defined the manner in which fashion is presented on the internet, pioneering fashion film and now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. SHOWstudio has worked with the world’s most sought-after filmmakers, writers and influential figures of contemporary fashion, including Tom Ford, John Galliano, Kate Moss, Alexander McQueen, Tracey Emin and Lady Gaga. They also offer a physical platform showcasing contemporary art and fashion illustration. Each season Nick Knight selects the most inspiring young fashion illustrators to interpret the new seasons fashion collections. The work of Tobie Giddio with her use of fluid movement brings a unique twist whilst Blair Breitenstein uses colour and naivety to powerful effect. Drawing On Style 2016 is a fusion of the very best 20th and 21st Century fashion illustration. The exhibition highlights the elegance and poise of the original masters, the beauty and understatement of Donovan who draws so deeply on their tradition and provides the bridge to today’s cutting edge illustrators with their dynamic conceptual use of colour and vibrancy. At last this powerful, elegant, attitudinal school of art is receiving the recognition it so richly deserves. Fashion Illustration is back and here to stay. Connie Gray – Exhibition Curator September 2016

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Bernard Blossac (1917 – 2002) Yellow Tailleur, Actualité Couture 1955, Ink and Gouche on Paper, signed, 57.5 x 43 cms


Bernard Blossac (1917 – 2002) Lilac Tailleur, Actualité Couture 1955, Watercolour on Paper, signed, 59 x 43.5 cms

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Kenneth Paul Block (1924 – 2009) Gloria Guinness 1968, Watercolour and Felt Tip on Paper, 61 x 47.5 cms


Kenneth Paul Block (1924 – 2009) Givenchy Runway, Black Felt Tip on Paper, inscribed, 34.5 x 24.5 cms

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Kenneth Paul Block (1924 – 2009) Yves St Laurent Russian Collection, 1976 Runway, Black Felt Tip on Paper, inscribed, 34.5 x 24.5 cms


Kenneth Paul Block (1924 – 2009) Pierre Cardin Runway, Black Felt Tip on Paper, inscribed, 34.5 x 25.5 cms

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René Bouché (1905 – 1963) Costume Suit For Dinner, US Vogue October 1947, Charcoal Watercolour Wash on Paper, signed, 41.5 x 31.5 cms


René Bouché (1905 – 1963) Red Dress New York, Watercolour and India Ink on Paper, signed, 63.5 x 48.5 cms

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René Bouché (1905 – 1963) Red Suit, Condé Nast January 1950, Watercolour and Gouache on Paper, signed verso, 58 x 35.5 cms

10 René Bouché (1905 – 1963) Saks Fifth Avenue New York For Condé Nast 1952, Watercolour and Gouache on Paper, 63.5 x 47 cms

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11 René Bouché (1905 – 1963) Saks Fifth Avenue New York For US Vogue 1952, Watercolour and Gouache, signed, 65 x 50.5 cms

12 Bernard Boutet de Monvel (1881 – 1949) Costume de Voyage by Lucien Lelong For Harpers Bazaar 1927, Black Pencil on Tracing Paper, 25.25 x 28 cms

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13 Carl ‘Eric’ Erickson (1891 – 1958) Balenciaga, US Vogue October 1954, Ink and Watercolour, signed and dated, 65 x 50 cms

14 Carl ‘Eric’ Erickson (1891 – 1958) Model In Grey Tailleur, Ink and Gouache on Paper, signed, 60.5 x 47 cms

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15 Carl ‘Eric’ Erickson (1891 – 1958) Silhouette, Charcoal on Paper, signed 48 x 38.5 cms

16 Carl ‘Eric’ Erikson (1891 – 1958) Empire Coat By Schiaparelli, Vogue 1936, Watercolour and Gouache on Paper, signed, 55 x 33.5 cms

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17 René Gruau (1909 – 2004) Model With Black Glove, C1950, Pencil on Paper, signed, 28 x 40.5 cms

18 René Gruau (1909 – 2004) Woman With Hat, India Ink Gouache and Watercolour on Woven Paper, signed, 32.5 x 25 cms

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19 Henry Koehler (1927 – ) Elizabeth Arden II, The New Yorker, Watercolour and Pencil on Paper, signed, 60.5 x 45.5 cms

20 Henry Koehler (1927 – ) Elizabeth Arden, The New Yorker, Watercolour and Pencil on Paper, signed, 60.5 x 45.5 cms

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21 Henry Koehler (1927 – ) Mrs Wiley Buchanan For Town and Country 1962, Watercolour and Charcoal on Paper, signed, 76.5 x 56 cms

22 Henry Koehler (1927 – ) Lady Ormsby-Gore Wife of British Ambassador to Washington For Town and Country 1962, Watercolour and Charcoal on Paper, signed, 76.5 x 56 cms

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23 Christian BÊrard (1902 – 1949) Model in Evening Dress, Ink and Wash on Paper, signed, 38 x 27 cms

24 Angela Landels (1927 – ) Liberty, 1970s, Ink on Lay Out Paper, signed, 52.75 x 38 cms

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25 Antonio Lopez (1943 – 1987) Fashion Of the Times, New York Times 1965, Pen Ink, Tempera on Paper, signed 60.5 x 45.5 cms

26 Antonio Lopez (1943 – 1987) Red Legs, Harpers Bazaar Red Story 1967, Pastel, Felt Tip and Charcoal on Paper, signed, 61 x 45.5 cms

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27 Pierre Mourge (1890 – 1969) Pierre Besson Green Tailleur, L’Officiel 1958, Ink and Gouache on Paper, signed and dated, 55 x 38 cms

28 Pierre Mourgue (1890 – 1969) Guy Laroche Pink Wool Tailleur, L’Officiel 1958, Ink and Gouache on Paper, signed and dated, 55 x 38 cms

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29 Jack Potter (1927 – 2002) Yellow Jacket 1957, Ink and Gouache on Paper, signed and dated, 91.5 x 76 cms

30 Pierre Simon (1907 – 1999) Balenciaga 1955, Pencil and Wash on Paper signed and dated, 49.5 x 23 cms

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31 Pierre Simon (1907 – 1999) Jaques Fath, The New York Times 1954, Watercolour and Pencil on Paper signed, 43 x 18 cms

32 Pierre Simon (1907 – 1999) Coiffure Paris 1970, Watercolour on Paper, signed, 49 x 37.5 cms

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33 Glenn Tunstull (1950 – ) Promotional Sketch, Pastel on Charcoal Paper, signed, 57 x 40 cms

34 Bil Donovan (1953 – ) Rosie Assoulin New York Fashion Week 2015, Ink Gouache on Paper, signed, 38 x 29 cms

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35 Bil Donovan (1953 – ) At The Plaza For Lighthouse International 2011, Ink on Paper, signed, 37.25 x 33.75 cms

36 Bil Donovan (1953 – ) Dior 2015, Luxure Magazine, Ink Gouache on Paper, signed, 40 x 28 cms

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37 Bil Donovan (1953 – ) Schiaparelli 2015, Luxure Magazine, Ink Gouache on Paper, signed, 37 x 28 cms

38 Bil Donovan (1953 – ) Society of Illustrators Fashion Sketch Night II 2014, Ink Gouache and Coloured Pencil on Paper, signed, 38 x 28.5 cms

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39 Cecilia Carlsdtedt (1977 – ) Alberta Ferretti S/S 16 No 2, Mixed Media on Paper, 40 x 48 cms

40 Tobie Giddio (1963 – ) Carolina Herrera S/S 14, Charcoal on Paper, 47.5 x 38 cms

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41 Blair Breitenstein (1989 – ) Gucci A/W 16, Oil Pastel, Pencil and Acrylic Paint on Paper, 35.5 x 28 cms

42 Conrad Roset (1984 – ) Sister By Sibling A/W 14, Ink on Paper, 29.7 x 42 cms

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Christian Bérard (1902 – 1949) French

Bernard Blossac (1917 – 2002) French

Blair Breitenstein (1989 – ) American

Of all the fashion illustrators Bérard was the most Bohemian and most outrageous; infamous throughout Paris as a designer, painter, set designer and costume artist. As a fashion illustrator he drew for Schiaparelli, Dior, Patou. Vogue and Harpers Bazaar published him constantly, including numerous front covers. He was an adventurous colourist with a free style that highlighted the elegance of the woman and design but with out severe delineation. His relationship with Dior was perhaps the most important, accompanying Dior from the outset, Bérard sketched Diors creations and designed and decorated 30 Avenue Montaigne, Diors headquarters. He was also instrumental in bringing French Haute Couture back to life in post war Paris with an extraordinary set design for the miniature ‘theatre’ that toured Europe and the US exhibiting the French couturiers designs in a bid to bring foreign buyers back to the splendor of Paris after the war. Bérard died at just 47.

Robert Piguet, the French couturier, is credited with launching Blossac’s career in 1941. He went on to illustrate for Vogue, Femina and L’Officiel de la Couture et de la Mode de Paris for the next 30 years. His fluid elegant style using pencil, charcoal and chalk is easily distinguishable as his defining look in all his illustrative work. He was a master draftsman and exceptionally skilled in interpreting interiors. He often inserted his fashion commissions onto previously worked interior designs. In 1996 the Christian Dior Museum, Granville, France held a retrospective of his work entitled ‘Images de Mode 1940 - 1960 Hommage à Bernard Blossac’.

Blair Breitenstein has breathed life into some of the most recognised current names in fashion and beauty, including Saks Fifth Avenue and Prada. Currently the Artist in Residence at Glamour Spain, her talent has also been recognised by Oscar de la Renta, Harpers Bazaar, The New York Times, W Korea and many more. Blair’s illustrations exude an expressionist take on contemporary high fashion. Largely influenced by high fashion photography, Blair describes her process as spontaneous, primarily using layered watercolours and messy smudged lines.

Kenneth Paul Block (1924 – 2009) American Block was arguably America’s most important 20th century fashion illustrator. Following his graduation from Parsons School of Design in 1945 he was the in-house artist for Fairchild Publications WWD, the garment trade paper and its offshoot W Magazine. He was instrumental in transforming WWD into a dynamic chronicle and W into the bible of the jet set during the 60s and 70s. His incisive yet graceful brushstrokes captured the most important styles of the post war era including collections by Yves St Laurent, Pierre Cardin, Coco Chanel and Givenchy. Diana Vreeland commissioned his work for both her first exhibit ‘Cristobal Balenciaga’ and later for the ‘American Women in Style’ exhibition at the Metropolitan Museum of Art. The Museum of Fine Arts Boston has acquired a large collection of his portfolio and an important and highly acclaimed exhibition of his work has recently been held at the museum.

René Robert Bouché (1905 – 1963) American A celebrated portraitist and leader in fashion illustration, René Robert Bouché was appointed visiting lecturer at Parsons School of Design, New York in 1947. Born in Prague, he moved to Berlin, Paris and then New York. Despite a lack of formal training he illustrated for Vogue through out his career and was chief advertising campaign illustrator for Saks Fifth Avenue and Elizabeth Arden. He was a master of social portraiture with a quick, intuitive yet penetrating style. From the early 1950s, he painted oil portraits of notables from the art, fashion, literature, and media worlds. His work is held in numerous public collections including the Whitney Museum and Museum of Modern Art, New York.

Bernard Boutet de Monvel (1881 – 1949) French Boutet de Monvel was a remarkably gifted artist, engraver, sculptor, fashion illustrator and interior designer. Fascinated by geometry, simplicity and stylisation, his work always portrayed solid construction and a solid line. His work featured in Harpers Bazaar, Vogue and Town and Country throughout his career. Andy Warhol reinterpreted a cover illustration for Town and Country by Boutet de Monvel in the mid 50s. As a portraitist, he painted the most famous and beautiful women in the world. Yves St Laurent and Pierre Bergé acquired numerous constructivist works for their home in Marrakesh.

Cecelia Carlsdtedt (1977 – ) Swedish Carlsdtedt has been working as a full time illustrator since graduating from London College of Communication in 2003. She has spent several years in London and New York but has now returned to her hometown, Stockholm, where she lives with her family. Experimentation is an integral part of her working process which allows her to use a variety of tools and methods to complete an illustration. Recent commissions include Vogue Nippon, W magazine, Nina Ricci, Jimmy Choo, LMVH, HandM, Refinery 29, Lancôme and Tiffany.

Bil Donovan (1953 – ) American

Tobie Giddio (1963 – ) American

Henry Koehler (1927 – ) American

Donovan is America’s most important contemporary fashion illustrator. Following graduation from The Fashion Institute of Technology, New York he has gone on to establish impressive relationships with all the leading names in the advertising, beauty, editorial and fashion markets. In 2009 he was appointed Artist in Residence for Christian Dior Beauty. His unique talent to capture the essence of a fleeting moment of spirit of a personality in a minimal amount of time and detail has lead him to clients that include Vogue, Harpers Bazaar, The New York Times, WWD, Luxure Magazine, InStyle, St Regis Hotel chain to name but a very few. He currently holds the title of President of The Society of Illustrators and is a professor of illustration at both The Fashion Institute of Technology and The School of Visual Arts, New York where he teaches a course strictly for fashion illustration. He is also an acclaimed fine artist working under the name of William Donovan.

Giddio studied at the Institute of Technology in New York. Giddio illustrates primarily in charcoal or collage. The results of the collage process are achieved by utilising brush and sumi ink with Pantone transparent colour overlays cut with a straight edge on paper. Her clients include Tiffany and Co, Swarovski CFDA and Harpers Bazaar.

Born in Louisville Kentucky, Koehler attended Yale University before moving to New York to work as a renowned artist and illustrator. His work appeared regularly in The New Yorker, Town and Country, Vogue and Sports Illustrated, capturing the essence of the glamour and elegance of New York society, often inviting the most beautiful society women to model for him. He himself was the epitome of the glamorous world of New York high society. In the 1960s he was commissioned to paint a series of pictures for the Kennedy family on their private sailboat the Victura. He is now America’s most important equine artist with an international following. In 1974 he designed the artwork for the 10 cent US postage stamp to commemorate the 100th running of the Kentucky Derby. His work is held in international collections including the National Museum of Racing and Hall of Fame, Saratoga Springs.

Carl ‘Eric’ Erickson (1891 – 1958) American Carl ‘Eric’ Erickson was the most influential fashion illustrator of the 20th century. A master draftsman in the classic tradition of observation and delineation, renowned for its sophistication and honesty. He is credited with bringing realism into the previously ‘static’ art of fashion illustration that was popular in the early 20th Century. Born in Illinois, Eric attended the Chicago Academy of Fine Arts receiving his first commission from Vogue in 1916. His association with Vogue lasted for over 40 years until his death in 1958. He maintained a studio in both New York and Paris from where he drew fashion and social reportage. The Brooklyn Museum held a retrospective of his work in 1959.

René Gruau (1909 – 2004) Italian Gruau is undoubtedly the most recognizable illustrator and artist of his era. His arresting style was both simple and dramatic, using minimal lines to capture classic beauty, grace and sensual elegance. He drew on a number of artistic influences, particularly Japanese woodcuts and the work of Toulouse-Lautrec to illustrate for all the leading couture, advertising and magazine houses throughout his career. Instrumental in translating Dior’s vision to a worldwide audience from the New Look in 1947 to the late 1990s, his power to influence was vast and reshaped marketing for the fashion industry forever. A major retrospective of his work with Dior was held at Somerset House, London in 2010.

Angela Landels (1935 – ) British Landels original style exemplified the elegance of the 60s and 70s. Her distinctive stylistic work featured in all the most prestigious publications of the period including Harpers and Queen, Tatler and Women’s Wear Daily with illustrations for Balenciaga, Blamain, Yves St Laurent and Zandra Rhodes. Classically trained, her deep understanding of the human form coupled with her intuitive eye for fashion brought her advertising campaigns for Liberty, Fortnum and Mason, Yardley Cosmetics, Austin Reed and Aquascutum. She was appointed Art Editor for Harpers and Queen in the 1970s. She also had a distinguished career as a portrait painter and book illustrator. Though she is now retired she maintains a keen eye for fashion and style. Worcester University recently held an important retrospective of her work as both a fashion illustrator and artist.

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Antonio Lopez (1943 – 1987) American

Jack Potter (1927 – 2002) American

Pierre Simon (1907 – 1999) French

The New York Times credited Lopez as being ‘a major illustrator’. His career took off in 1963 when attending The Fashion Institute of Technology, New York and his talent was spotted by Woman’s Wear Daily. He continued to collaborate with WWD, ELLE and The New York Times until his death in 1987. Influenced by life on the streets and clubs of NY, Lopez brought a unique energy to his work as fashion illustrator, photographer and fashion provocateur that defined a generation. In the 60s his illustrations inducted youth culture into magazines, setting a new visual tone. In the 70s he lived in Paris, collaborating with Yves St Laurent and Karl Lagerfeld and helped to launch the careers of Jerry Hall and Grace Jones. The 80s saw intense colour and movement that inspired designers Norma Kamali and Anna Sui. A major retrospective of his work opened at the El Museo del Barrio, New York in June 2016.

Potter was an innovative illustrator of the 1950s. When Norman Rockwell’s method of painterly realism was popular in magazines and advertising, Potter introduced a more impressionistic style that owed a debt to Vuillard and Toulouse Lautrec. His elegant and expressive line gave commonplace scenes a divine elegance. He always drew from life and believed that drawing from photographs was criminal. In later life he taught the acclaimed class ‘Drawing and Conceptual Thinking’ at the School of Visual Arts, New York and insisted that his students not draw what they saw rather interpret what they saw, allowing their emotions to guide their art.

Pierre Simon attended L’Ecole de Beaux Arts, Paris and his first commission for Harpers Bazaar was in 1927. He went on to work for many of the leading magazines including L’Illustration, Vogue, La Revue de Lin and Plaisir de France and collaborated with many of the luxury designers on advertising projects. His most renowned clients being Dior and Van Cleff and Arpels. With a strong bold line and great sense of style he was able to capture the beauty of his subject drawing the reader into the atmosphere of the work.

Conrad Roset (1984 – ) Spanish Roset studied fine art at Belles Arts, Barcelona. He spent his early life surrounded by boxes of crayons, pens and notebooks. Drawing has been a constant feature in his life. Since launching himself as a freelance artist, Roset has worked for many different brands, advertising agencies and publishing companies. His work has been exhibited internationally at acclaimed institutions including the MOMA in Virginia, Spoke Art, London, Miles and Miscelanea.

Pierre Mourgue (1890 – 1969) French Originally a house illustrator for the leading French fashion magazine Gazette du Bon Ton, Mourgue is credited with ensuring the best illustrators moved to Vogue in 1920 when Condé Nast purchased Gazette du Bon Ton. With his flowing and elegant style he became a leading French illustrator of the early to mid 20th Century, imparting a sense of fun into each of his illustrations and are emphatically characteristic of their time. Mourgue was an accredited Vogue artist through out his career.

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Glenn Tunstull (1950 – ) American Painter, illustrator and teacher, Tunstull was one of the A-list fashion illustrators who defined the 70s and 80s. Following graduation from Parsons School of Design, New York and The Fashion Institute of Technology, Tunstull’s work was regularly published in US Vogue, Harpers Bazaar, The New York Times and Women’s Wear Daily. The elite of fashion design and retail championed his work, from Ralph Lauren, Calvin Klein, Versace, Kenzo, Saks Fifth Avenue, Bloomingdales and Neiman Marcus. Beauty campaigns included L’Oreal and Revlon. Tunstull now teaches fashion drawing at The Fashion Institute of Technology, The Pratt Institute and at Parson’s New School of Design. He is also a full time painter, working on expansive landscapes and seascapes based on close observation. He holds regular exhibitions in the US and his work is included in collections internationally.

Back Cover:

Bil Donovan (1953 – ) Society of Illustrators Fashion Sketch Night I 2014, Ink Gouache and Coloured Pencil on Paper, signed, 38.5 x 28.25 cms

Drawing on Style 2016  
Drawing on Style 2016