sketch

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.

Comfort in Carole Lombard

Illustrations, Projects Series

Since leaving my Mystic home last December and relocating to New London [both in CT] countless monkey wrenches came along for the ride. Among those, my agonizing effort in trying to create the working space needed in my new micro-sized home. 

So, what is the Carole Lombard connection? 

To break up the silence as I work, I find that the older movies are less “sound intrusive” than others. Throughout the past 2 [or more] years I have streamed – almost exclusively – Hollywood’s early classics and nearly all that is film noir. In doing so I realized I was especially smitten with the charms of Carole Lombard. 

Carole Lombard by Jeni Moore 2022

Lombard, beautifully iconic in this 1930s Paramount publicity photo, had become a comedic source of comfort to me. [It would be impossible to count how many times I’ve revisited “My Man Godfrey”.] And I felt this particular pose, penetrating as she is seated in the corner of a sofa, as very artfully compelling to depict on 100 lbs. pink cardstock. And in this 7″ x 9.5″ piece, I used both tinted pencil with soft pastels. 

Carole Lombard via Wiki Commons

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”…

Milton “The Maestro” Glaser

Illustrations, Projects Series

Last year and during a period that I found myself feeling especially grateful and generous, I began a sketch of Milton Glaser with the intention of sending it to him along with a letter of my adoration. What can I say? I got waylaid. I had overworked this little 5” X 7” portrait to an extent that poor Milton looked as if he belonged in a Kabuki theater. Really, awful. I meant to finish it but… and yet…

From childhood to present, Glaser’s artistic and illustrative designs have greatly contributed to my sense of aesthetics. However, Milton Glaser as a mentor [to me and so many others, globally] brought a profoundly strong ethos that he not only embodied but touched upon so generously in both writing and talking on the subject of art. He was a true mensch whose words were often flavored with deeply informed historical philosophies. Anyway, this has been my impression whenever I’ve streamed one of his videotaped conversations; which was quite often as I worked at my own easel. 

Imagine the blow I felt when I learned of his death last week! I had to wrestle with the guilt I had for having never finished my little portrait of him… or sending that letter. I picked up that first task again and thanks to an image found on the website artsmeme.com, I pencil sketched Mr Glaser and then, for better or worse, printed out a tracing. In the colorized version, I added a personal favorite Glaser-designed metal sculpture that had been commissioned by The Rubin Museum in New York City. 

Milton Glaser: 1929-2020

Milton in Color
7″ x 9″

 

Then and There: Part II

Illustrations, Projects Series

When I do a search for a muse, my aim often is in seeking someone who feels familiar to me – while avoiding many subjects I may already be thoroughly familiar with. It is like a game where I really can’t lose because I often find remarkable stories behind these veneers.

So, after completing my sketch of a 1960s Donna Mitchell last week [“Then and There”] I went on to do a search of my subject with the hope of learning more about her. At the top of the results online I was astonished to see brilliant photos of Ms Mitchell – as she continues to model to this day! Represented by the “Iconic Focus” agency, her portfolio amazed me as she is no less stunning now than she had been in her teens. Although, and perhaps an indication of that “familiarity” factor, I found very little of her personal life and I’m quite private with my own. And while it was hard to choose from her very-very varied looks collection, the pose I settled on seemed to serve as the best narrative companion for my other Donna Mitchell sketch – in which she beams, sitting and looking quite self possessed. 

Donna MItchell 2020 Mix Media 8″ x 10″

 

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

A Pati Hill Portrait

Illustrations, Projects Series

My friend Richard reminded me that today is Pati’s birthday. Had Pati Hill not departed life here in 2014 she would be 99 years old…!

Richard Torchia, who is Arcadia University’s art gallery director, had discovered the genius of Pati’s art around the time that her book “Letters to Jill” was published. In his present capacity as curator to her artistic legacy, Richard recently secured an exhibition of Pati’s works at the Kunstverein München in Munich, Germany. 

And due to my friendship with Pati Hill I am honored to have as a friend her invaluable assistant, Nicole. For the past six years, dear Nicole has given me extraordinary mementos of photographs and art and more… The sketch below was rendered from a photo of Pati, wherein she sits within a window of her home in Yonne, France. 

“Pati Hill”
9″ x 12″

 

In Gaultier’s Fashion

Illustrations, Projects Series

Prophetic or just strange…? Yet, when I learned that designer Jean Paul Gaultier had announced his retirement, I had already begun this sketch of a Niall McInerney photo found within the pages of Colin McDowell’s Gaultier biography. 

From his fairly humble beginnings, Gaultier began his breath taking career when he was employed by Pierre Cardin. Jean Paul was a mere 18 year old at the time! [Does anyone speak much of Cardin today? Would it be hubris to view Gaultier as having surpassed his mentor if we are to think of the legends of haute couture?]

Gaultier has often come across as an impish mischief maker; this being one of the many reasons I personally adore him but also gives one the sense that he will not disappear entirely. And since his own style – more often than not – is typically a striped sailor’s shirt, I felt the need to lend stripes to the model’s gloved hand.  

Les Journées ou Gaultier

Yasmin in Bottega

Brushwork, Projects Series

Faces. How to explain whose face will lure me in cannot be easily expressed. Nor could I articulate why one photo among countless others compels me to render it, by whatever means. In this sketch of Yasmin Wijnaldum, she wears Bottega Veneta for a 2018 Elle editorial.

Photographer Chris Colls, versatile – and cunning in this instance, captures Yasmin beautifully by cleverly setting this overcoat against the grid of a rusted fence.

How did this escape me at the time of receipt? Again, I have no idea!

Yasmin in 2018 Bottega

A Very Mod Maudie

Brushwork, Projects Series

While on a vintage fashion photo spree, a 1967 photo by Patrick Hunt seized and transported me both backwards and forward. A model by the name of Maudie James, dressed in 60’s Mod icon Mary Quant and seated in floral patterned “Barrel” chair. This über-cool chick I once dreamt of becoming…and to be dressed in Mary Quant!

Yet, I couldn’t be stopped in re-imaging this in my own [quite twisted] way.

The chair became a setting of its own for some trippy botanical, as photographed by my friend Bryel. And Hieronymus Bosch inspired some sort of pattern for Maudie’s outfit – as well as an added pot with its fern. More madness came over me as I left my “medium comfort zone” and went to town with pastels of all kinds applied to a – roughly – 12” x 12” hunk of grey mat board.

Maudie James in Mary Quant. Photo by Patrick Hunt, 1967

Maudie James in Bosch

*A special mention of gratitude to Clive Arrowsmith: As I couldn’t find anything as far as Maudie’s background, Mr Arrowsmith had written of his experience with her in that she was very quiet… shy…

Bride and Groom – Groom and Bride

Projects Series

Do I dare to even imagine the red carpet hoopla which will descend at the Met’s gala for their upcoming “Camp: Notes on Fashion” costume exhibition?! Already I am beside myself over Vogue’s May 2019 issue…

Their editorial “warm-up” is entitled Breaking Camp. Already stupidly giddy over actor Ezra Miller, I’m now smitten with his photo shoot partner Keiynan Lonsdale – both attired in Thom Browne. Furthermore, I am {SO!} now following photographer Ethan James Green.

Pencil sketch of an Ethan James Green photo for Vogue of two young men in a matrimonial pose.

Sketch of Ethan James Green photo [May 2019 of Vogue]

A simple pencil sketch with touches of violet – but uncharacteristic in this is that I used a bit of color burn filtering for its presentation here.