fashion

Poiret Study

Illustrations

This is an image which is also a bit about the dawn of the 20th Century. 

Evening Gown Sketch of Poiret Gown

For those in need of a history snippet in the couture annals of Paul Poiret: As the 20th century began to evolve all areas of culture, it most certainly ushered in liberation for women’s wear. Enter, Paul Poiret. Born 1879 in Paris, France, when he began his couture house in 1903 he quickly became known as the Le Magnifique. 

Popular especially with the Bohemians of that era, Poiret’s creations were primarily inspired by the Orient. [In the usage of “Orient”, one has to conjure all areas South and East of the European continent.] 

As cited in the book, “The Collection of the Kyoto Costume Institute: Fashion” [Taschen Publications, 2002]:

“It was Paul Poiret who first put forward a new line of fashion that did not require the use of a corset.”

My study [from pages 424-425 of the aforementioned book] is not exact in color – as the photo clearly depicts a rather coppery pink dominating the evening gown of 1920. The gown itself was constructed of both silver lame and silk tulle, and accented with both silver and wood beading.

On Missing Michael Thompson

Illustrations, Projects Series

Throughout my life to date, I have grieved over the absence of two photographers. 

The first loss I’ve suffered is the passing of photographer Edward Charles Moore – as he was my father – and most can relate to this. He died in November of 2005 at the age of 87 years old. Not a day goes by without thoughts of him… In many ways, he and I had been like minded. Although I regret never having learned all that much in photography skills from him.

The other photographer is Michael Thompson. And from recent searches online, I presume he is still among the living. But the amazing fashion editorials I so much admired within the pages of W Magazine seem to have dwindled off in the last decade or so. Due to this mysterious absence, I finally knuckled and bought a book of Thompson’s work, “Images”. Published in 2005. Also, in reading Thompson’s forward, I learned that he also had a father who had been a professional photographer. 

“Blue Princess” Photo by Michael Thompson, 2001

Among the brilliant selections of works in this book, I was most mesmerized by one titled “Blue Princess”, originally having appeared in W Magazine, 2001. Really, the lighting cast upon model Carmen Maria [now known as Carmen Maria Hillestad] is some sort of studio alchemy of light and shadows. 

In my 9” x 12” rendering of the photo, I have her gaze changed from somewhat downward to a direct look at the viewer. 

“Thompson’s Carmen” Colored Pencil on 9 x 12 by Jeni Moore

McQueen in Spook Green

Illustrations, Projects Series

On a recent and dreary Thursday my “faux-bro” and I had made our way to a tattoo parlor for new piercings. And as he drove, I kept spotting compact vehicles that were a sort of high voltage green.

“Trench Retouch” 8.5 x 11 Cray-pas and pencil on paper

“Do ya suppose that spooks have traded in dark sedans for bright green compacts?” I mused for his consideration. And there you have the beginning of my backstory as to how I became inspired for this specific sketch. 

As afterward, he and I hit a bookstore where I snatched a copy of i-D magazine. And it was when I found within [Issue No 362] this particular editorial, photographed by Amy Troost, a fantastic shot of model Abby Champion wearing a McQueen designed “trench dress”. 

Hopefully, creative license is enough to pardon my reimagining this khaki dress in my “new spook green”…

Twigs and Green

Brushwork, Illustrations, Projects Series
Sun Maker, Gouache on paper, by Jeni Moore 2016

FKA Twigs had first come to my attention in 2016. While “Twigs” initially gained celebrity as a singer, it is both her origins in dance and her magically photogenic presence that drew me to her. And during that year, I had been creating my “Diaphanous” series. [This series can be simply defined as couture derived outlines – sans models.] This painting shown above had been inspired by an Elle magazine feature of FKA Twigs; although only the Salvatore Ferragamo dress as photographed by Paola Kudacki emerges in my work.

In this most recent illustration, FKA Twigs is finally seen and depicted as I have sketched here. This was done first with a mechanical pencil on student grade paper. After which I scanned and copied the image onto a textured piece of card stock so that I could add the chalky black background. 

“FKS Twigs” Pencil and pastel, 8.5″ x 11″. 2021

Once again, I owe credit to Ethan James Green for his 2019 editorial photos from Vogue’s October issue. And the gown worn for this feature is Dior Haute Couture. 

Penn in Pencil

Illustrations, Projects Series

This could also be titled “Penn and Patchett in Pencil” as model Jean Patchett is the poised woman holding the wine glass for photographer Irving Penn – circa 1949. Citing the caption as found online, Patchett is wearing “silk taffeta… from Vogue Design #6708”. Does the #6708 refer to a dress pattern? I wonder.

The half page size copy of Penn’s black and white photo proved mysterious in parts also. In the original, a shadowy violin player is seen in the background. Very barely! There is a dark door dividing the musician and model, obscuring outlines of her skirt. So, I used the visible clues to render all that I could… 

Penn in Pencil
8″ x 12″ sketch 2020

Then and There

Brushwork, Illustrations, Projects Series

While searching vintage era images I was recently very much taken with one which is so quintessential 60s Mod – yet there is more to it… Up until the moment of discovery I wasn’t at all familiar with model Donna Mitchell and yet in the expression she gave photographer David Montgomery, there is some element of personal reflection about it. 

Years [and years!] ago I was – as I recall – shaped like a lollipop. From my neck down, a stick. My head, being the “lolli”. Or the “pop”? I mention this as my water brush sketch doesn’t quite do the real [and very stunning] Donna Mitchell justice; the result being an illustrated snapshot of, perhaps, personal vulnerability? 

Donna – or Me? 8″ x 10″, Crayon and Pencil

In Character: Sandy Powell

Illustrations, Projects Series

My reasons are multifold [pun intended] for sketching from Tim Walker’s photo of Sandy Powell. For starters, Ms Powell is no ingenue nor is she a fashion model – as one might typically find in my works.The vibrancy she exudes is not limited to her vivid red hair; there is joi de vie found throughout the “W” editorial and you can see this for yourself on stylist Sara Moonves’ Instagram. And better still[!], those specs which Sandy Powell wears are nearly identical to the ones worn by my mother.

You might not know my subject  – but in all likelihood you have seen her award winning costume designs from a plethora of movies. In fact, I would love to wear that zipper and safety pin jacket of her own design…

Sandy Powell 2020

Pencil on sketch paper, 9.5″ x 14″

LV’s Thistle Design

Illustrations, Projects Series

 

The Thistle pattern, artfully applied to a Louis Vuitton jacket and as worn by Kaia Gerber, brought the word “pluck” to my mind. Found in Vogue’s March issue [“The New Edwardian”] and photographed by David Sims, I just love that diagonal action in Gerber’s hair above the uniformly vertical pattern. Does anyone say “plucky” these days? Well, this is pluck all over!

Louis Vuitton Spring 2020

Autonomy & Unity

Illustrations, Projects Series

While working on this particular illustration, the existentialist in me went into hyper-drive. You may ask: Two models posing in front of a painting – so what’s the big deal? 

May and Ruth Bell for Dior

Sparing you the entire recap, my short list includes Civil Rights, Spiritualism, Symbolism [ala Carl Jung], Community, and Family – by blood and otherwise. The editorial story in Harper’s Bazaar is titled “The Power of Sisterhood”, written by Robin Morgan. My source photo by Jason Kibbler depicts May and Ruth Bell – being twin sisters –  really ignited me into that frenzied stream of consciousness.

Whereas I have one sibling, my sister and I are not twins but perhaps similar to May and Ruth in a somewhat Yin Yang sense of being. I refer to my dearest chick mates as my sisters as well. With all due respect to “Sisterhood”, I also have adopted males – aka my “brothers”. And just as this photo could not have come to light without countless members within a team, my sisters and brothers are imperative to my own work. [You too! You, reading this now…]

Quite integral to the image is the painting behind the Bell sisters: “Durga”, by Diana Kurz. This I had to pare down to some essential elements; two arms & hands upholding symbols, another hand appearing between May and Ruth, the 3 pointed spear and the goddess’ crown*. 

I have sung my praises to Dior’s creative director Maria Grazia Chiuri before. However, this? I must sing a refrain!

Which I extend also to fashion editor Miguel Enamorado. Brilliant, on every level!

*In studying what can be seen from Kurz’s painting, I can only surmise that the Hindi goddess is a variation of “Lakshsmi”. As I’m limited in all things Hindi/Hindu, I think I’ve deciphered the following from the elements as selected in my illustration:

Trident [left] represents Desire and/or a combination of Action & Wisdom

Fire [upper left] is symbolic of both Creator & Destroyer of Life

Crown [above Ruth] is commonly symbolic of – or formed as – a Lotus

Conch Shell [upper right] represents Brilliance/Auspiciousness

 

To learn more, go to this link: https://en.wikipedia.org/wiki/Lakshmi

Fire Submerged

Brushwork, Projects Series

The color orange acts like a magnetizing force when it comes to my personal aesthetic. Symbolically speaking, orange seems to be as paradoxical as my own personality… translating as both warning and warmth. Utility and creativity. Ripe fruits and autumn’s leaves.

From this photo editorial shot by Carlos Serrao, model Wanessa Milhomem plunged into the waters wearing this blazing orange Cavalli dress. And as with my passion for orange, water cannot extinguish these flames!

Fire Submerged

 

 

Wild Abandon

Brushwork, Graphic, Projects Series

Am I ready to break more rules? I ask myself. There are, for argument’s sake, “technical” illustrators and then there are illustrators who master the human form and go on to find a way to express these skills on a more emotional level. And I aspire to fall into the latter category.

Again, I was taken by Ethan James Green’s series of photos for the July issue of Vogue. As I had already depicted the marvelous Raquel Zimmerman, this time I opted for Imaan Hammam who wears Dries Van Noten. Van Noten’s designs are driven considerably by the force of his own palette. For me, I couldn’t tell anyone if I favored his more industrial hues versus his vibrant ones… 

imaan-in-drie-van-norton-2019

Illustrating the Impact of Norma Kamali

Graphic, Projects Series

While my assorted visions can be fuzzy at times, nobody could say this of the legendary designer Norma Kamali. And I cannot pinpoint the exact year that I was first smitten and intrigued by Ms Kamali, I’ve recently reconnected with her present collections – and being blown away in both her aesthetic as a designer as well as the considered integrity that she upholds both personally and professionally. Rather than fill this post with the Kamali history, there is a fascinating article one can read on Vogue’s pages.

As my salute to Ms Kamali, I joined together one look which dates back to 1983 [roughly being that era when she arrived on my radar] with the tracksuit found in her present line. Quite the companions!

Norma Kamali Salute