Kayser Bondor

LINGERIE • STOCKINGS • BRASSIERES

Bra Illustrations

Andy Warhol, Bra and girdle, c.1958. Ink on Strathmore paper. Courtesy CORBIS.

An early fashion illustration by Andy Warhol, demonstrating the importance of detail in lingerie advertisements. Despite the absence of a figure, the currently fashionable silhouette is indicated by the cone-shaped breasts of the bra and the stomach-flattening panty girdle.

Andy Warhol Woman And Car

Andy Warhol, Woman and car, c.1959.

Ink and Dr Martin's aniline dye on Strathmore paper.

Courtesy CORBIS.

Since the early 1900s, the car had been used in fashion illustration as a symbol of modernity - here Warhol gives it as much importance as the figure.

Andy Warhol, Woman with flowers and plants, c.1960. Courtesy CORBIS.

The stark simplicity of the garments is enlivened by Warhol's use of rainbow stripes overlaying the figure, a new idiom in illustration.

Andy Warhol Fashion IllustrationCone Shaped Breasts

Andy Warhol, Six Handbags in a Frame, c.1958. Ink and tempera on Strathmore paper. Courtesy CORBIS.

Warhol hints at his later 'multiples' with this depiction of handbags, which he contrasts with an ornate frame.

Warhol Stamped Shoes

Andy Warhol, Stamped shoes, c.1959. Courtesy CORBIS.

Warhol earned over $100,000 in 1956 for his fashion illustration work. His highly successful campaign for I. Miller shoes was a contributing factor, but it came to an end in 1959 when the company decided to use photography.

For Simpsons 1959 Hof

h&Ud&y

Hof, Advertisement for Simpson's, 1959. Courtesy Daks/Simpson Archive.

Highlighting the difference in imagery used by the 'old school' of illustrator and Warhol's innovative work, Hof depicts comfortable middle-class casual wear. Illustration for advertising usually lagged behind that used in editorial.

Italian Casual Boots The 1960

Andy Warhol, Man in Black, c.1960. Ink on board. Courtesy CORBIS.

A sharply cut Italian-style suit worn with pointed shoes and a narrow-brimmed hat is the image of early 1960s cool.

Junichi NakaharaKayser Bondor Junichi NakaharaJunichi Nakahara Man Black 1961

Junichi Nakahara, Man in Black, 1961. Private Collection.

A Japanese version of 1960s cool by Junichi Nakahara, an illustrator who was a sensation in his own country in the 1950s and 1960s, combining traditional and Western aesthetic in his fashion work.

Junichi Nakahara 1960

c3up»fick. I'lur i c me technii|U«> null foundation. !

r>. Light, bright i hi- juc-l»:ige foui rjioil, and a trace

/ere filling th< ig it around tl vas nearly wir iiprobably gc I yard. Seeinj ft the girl am

Junichi Nakahara, Girl and photomontage, c.1960. Private Collection.

Western-style comic strips and cartoons had long been popular in Japan, where they were fused with ukiyo-c woodblock prints into what is now known generically as manga. Nakahara references manga in the comic-strip-style collaged background, as well as in the girl's large eyes, and small nose and mouth.

Bobby Hillson

BERKERTEX MAKES YOU

MORE BEAUTIFUL

Bobby Hillson, Advertisement for Berkertex, c.1960. Artist's Collection.

Founded in 1936, Berkertex became a major British clothes manufacturer. In 1948 its factory in Plymouth became the largest single dressmaking unit in the world, covering nearly ten acres. Selling mid-priced clothes for the 25-upwards age group, its retail outlets numbered over 2,000 across the country by the early 1970s.

Bobby Hillson, Advertisement for Berkertex, c.1960. Artist's Collection.

Flat panels of pattern applied with Letratone give the image a graphic textural interest.

Angela Landels Illustration

Angela Landels, Sîan Phillips in Chanel Suit, c.1961. Pencil on paper. Courtesy Museum of Costume, Bath.

A cardigan suit by Chanel and her signature two-tone court shoes complement the elegance of the sitter in Landels' drawing.

Chanel Sketching

79/tld.

Italian Brown. White.

Groonmantlo. Blue.

Black Calf & Suodo. Also In Pearllsed Calf & Black Patent.

Italian Brown is accessory news for 1961.

Slender court shoes In rich, dark brown calf — blending to perfection with the fresh, bright colours of your Spring ensemble. So right —so chic — so DOLCIS !

Matching handbags are available.

79/tld.

Italian Brown. White.

Groonmantlo. Blue.

Black Calf & Suodo. Also In Pearllsed Calf & Black Patent.

Italian Brown is accessory news for 1961.

Slender court shoes In rich, dark brown calf — blending to perfection with the fresh, bright colours of your Spring ensemble. So right —so chic — so DOLCIS !

Matching handbags are available.

Victor, Advertisement for Dolcis shoes, 1961. Courtesy The Advertising Archives.

The stiletto heel, whose invention is usually attributed to Italian shoe designer Salvatore Ferragamo, was widely worn in the 1950s and early 1960s.

CONTINENTAL LOOK

1955s Advert Simpson Piccadilly

CONTINENTAL LOOK

Anonymous, Advertisement for Brevitt shoes, early 1960s. Courtesy The Advertising Archives.

This advertisement stresses the 'Continental' appeal of Brevitt shoes.

Setsu Nagasawa

Setsu Nagasawa, Two women in kimonos, c.1960. Private Collection.

Despite depicting traditional kimonos and using traditional media, Setsu Nagasawa, a Japanese illustrator popular in the 1960s and 1970s, gives an interpretation that is utterly contemporary.

Oriental Editorial Design

Setsu Nagasawa, Two Japanese women in Western dress, c.1960. Private Collection.

Nagasawa fuses the oriental aesthetic with Western fashion.

Sun and swim ideas for 1963 specially designed in Paris for "international textiles"

Idées pour le bain et la plage en 1963, conçues à Paris pour "international textiles"

Dubly Herve

51 interniiiniut textile«

Hervé Dubly, 'Sun and Swim Ideas', International Textiles, 1962. Private Collection.

Radically new silhouettes hint at the innovation of early sixties fashion. Dubly worked mainly for French Vogue.

Herve Dubly

Hervé Dubly, 'Sun and Swim Ideas', International Textiles, 1962. Private Collection.

On the left, 'elephant pants' anticipate the flared trousers of the later sixties. Towelling fabric or 'terry cloth' for beachwear became popular at this time.

Sir Magazine Rene Gruau

René Gruau, Original illustration for cover of Sir, early 1960s. Brush drawing, ink and watercolour. Courtesy Galerie Bartsch & Chariau, Munich.

In a two-dimensional image, Gruau uses Op Art motifs and flat colour in a radically innovative illustration. Published by the International Textiles group, Sir was a quarterly magazine for the trade, reporting the latest trends in menswear.

Rene Gruau 1950s Art

René Gruau, Original illustration for cover of International Textiles, May 1962. Brush drawing, ink and watercolour. Courtesy Galerie Bartsch & Chariau, Munich.

Almost hidden by the beach towel, the figure imparts the air of mystery which Gruau often used in his work.

René Gruau, Blazer jackets, Sir, 1963. Private Collection.

The 'peacock revolution' in the 1960s brought in coloured suits, flowered shirts and a more relaxed attitude to men's fashion, here still influenced by sharp Italian tailoring.

Veste Blazer Man Tres Classe

Vestes blazer

Blazer-Moden

BLAZER JACKETS

Vestes blazer

Blazer-Moden

Men Semi Formal Sketches

Gruau, with his new blazei jackets, reflects the feeling for casualjelegance on semi-formal occasions. The blazer returns with traditional patch pockets and brass buttons but with narrow revers and wide.'natural shoulders

Gruau introduit clans ses nouveaux blazers une élégance sportive qui convient bien pour lus petites occasions. On y retrouve les traditionnelles poches plaquées et boutons dorés, niais les revers sont étroits et les épaules, naturelles et larges

Gruau bringt mit seinen neuen Blazern eine sportliche Eleganz für zwanglose Gelegenheiten. Wiederkehr der traditionellen aufgesetzten Taschen und Messingknopfe. jedoch schmale Kevers und breite, natürliche Scluilterlinie

René Gruau, Blazer jackets, Sir, 1963. Private Collection.

Gruau is credited with designing these blazer jackets. So closely attuned to fashion, illustrators have often been required to set a mood, indicate a trend or indeed, actually design garments.

Tod Draz Illustration

Tod Draz, 'Les Idées "Choc"', International Textiles, 1963/4. Private Collection.

The accompanying article is entitled 'Fashion at Turning Point' and goes on to highlight the divergence between the traditional 'clientele' collections and those which 'express a free and easy style' by designers who want to 'free themselves from the influence of Balenciaga'.

Bondor House Designs

Tod Draz, Patou, Courages, Dior and Capucci, International Textiles, 1963/4. Private Collection.

The boxy, geometric silhouettes are elongated by tall-crowned hats. Roberto Capucci established himself in Italian couture, or alta moda, in the early 1950s. The House of Patou is perhaps best known today for its perfume, Joy, launched in 1935 and still a bestseller despite its high cost.

X&tJjLMW

Constance Wibaut, Suit by Baienciaga, 1964. Artist's Collection

Known as the 'designer's designer', Baienciaga was a master cutter. His loose, hip-length suit jacket exemplifies his exploration of a new, sculptural silhouette, and his influence can clearly be seen in the work of his orotGge Courreges (see opposite).

Anonymous, Trouser suit by André Courrèges, 1964. Courtesy Museum of Costume, Both.

Courrèges' seminal 1964 Space Age collection helped to popularize trouser suits. The accessories - 'space helmet' hat, white gloves and pointed white boots - were all elements of his signature look.

Sixties Helmet Hat

Bobby Hillson, Original illustration of the Paris collections for The Observer, c.1965. Pencil on paper. Artist's Collection.

Hemlines are beginning to rise. By its nature, the miniskirt was suited to younger women. For many older women, the final acceptance of trousers into the fashionable wardrobe in the mid-1960s came as a relief.

Bobby Hillson, Original illustration of the Paris collections for The Observer, c.1965. Pencil on paper. Artist's Collection.

Bobby Hillson illustrated for numerous top magazines and periodicals during the 1960s. She set up the Fashion MA course at Central Saint Martins, London, and ran it from 1978 to 1995.

Caroline Smith 1965

Caroline Smith, Deliss suit and accessories, The Queen, June 1965. Artist's Collection.

Informed by Pop Art, flat, bright colours are used to depict two of the most iconic features of the 1960s - the Union Jack, symbol of 'Swinging London', and the miniskirted 'dolly bird', her face painted with hearts that anticipate the hippy style.

Caroline Smith 1965

Caroline Smith, Crochet minidress, The Queen, June 1965. Artist's Collection.

Relaunched in 1957 by Jocelyn Stevens, The Queen magazine provided a punchy, uncompromising mix of fashion, thought-provoking articles and society gossip within a glossy new format. This issue included a map of trendy boutiques where 'you can expect a touch of madness or a zany inspiration'.

Clive Lanctan Designer

Paul Christadoulou, Evening ensemble by Clive, Lanctan catalogue, Autumn 1965. CSM Archive.

Lanctan, a leather-tanning company based in Lancashire, featured leading designers' work in their catalogue, alongside leather samples and colour swatches for shoes and handbags. Clive's brocade evening jacket is worn over a bare-shouldered sheath.

Carolyn Clive Art

Bill Baker, Dress by Caroline Charles, Lanctan catalogue, Spring 1966. CSM Archive.

A little black dress from Caroline Charles with 'Quaker collar and cuffs' is contrasted with Art-Nouveau-style motifs.

Quaker ClothingSylvia Ayton Time Line

Sylvia Ayton, Design sketches for the Fulham Road Clothes Shop, c.1968. Artist's Collection.

The Fulham Road Clothes Shop was owned jointly by Zandra Rhodes and Sylvia Ayton, both recent graduates of the Royal College of Art. The designs show high collars, less severe hairstyles and an increasing emphasis on the shoulders.

Claire Mccardell Sketches

Constance Wibaut, Sketches from Paris, 1966. Collection of The Gemeentemuseum Den Haag.

Wibaut's sketches show the clean, spare lines, imaginative cutting and helmet-style hats associated with Pierre Cardin.

Black And White Menswear Sketch

Constance Wibaut, Sketch from Paris, c.1966. Collection of The Gemeentemuseum Den Haag.

Cardin's menswear was truly innovative - here a zipped gilet is worn over a black roll-neck. Tight trousers and a helmet hat complete the outfit. Cardin was one of the first designers to promote unisex styles, a growing feature of late 20th-century fashion.

Fashion Drawings 1960

René Gruau, Original illustration for cover of International Textiles,1967. Brush drawing, ink and gouache. Courtesy Galerie Bartsch & Chariau, Munich.

Gruau sets his illustration against contemporary lettering. Graphic design was influenced by the sixties psychedelic culture.

René Gruau, Original illustration for advertisement for Dior perfume, 1967/8. Brush drawing, gouache and collage. Courtesy Galerie Bartsch & Chariau, Munich.

Gruau's campaign for Dior perfumes continued into the 1980s and was an ongoing contribution to illustration through a lean period for the genre.

Eric Stemp Simpsons

Eric Stemp, 'Beach Set', Simpson's catalogue, c.1967. Courtesy Daks/Simpson's archive.

New fabrics for swimwear include Crimplene and Terylene. Eric Stemp's precise drawings were a feature of many magazines after the war, and from 1964 he became official advertising illustrator for Simpson's of Piccadilly.

I'JBC II

Ilcach set iti

67":, Tcr)lrnc/J3','i, collon i Mid blue di-sijin on ; while ground. Sl/cs j small, mi-diuni and j larcc. £6.19.6.

Eric Stemp

llalllcdrcss sunlop and shore. In lOOV.'.Tcr)lcnccrcpc. In pink/orange or liluc/crcfn. Sites34--40". <6.16.6.

I'JBC II

llalllcdrcss sunlop and shore. In lOOV.'.Tcr)lcnccrcpc. In pink/orange or liluc/crcfn. Sites34--40". <6.16.6.

Ilcach set iti

67":, Tcr)lrnc/J3','i, collon i Mid blue di-sijin on ; while ground. Sl/cs j small, mi-diuni and j larcc. £6.19.6.

1955s Advert Simpson Piccadilly

AI:-.»,...// ••'/' 10 Mil / I'I 'I /. .. r - il.f. i./J'/fi Jf.'.nl I. * . J 1 (./('»/ I' . . /. * I .,1'!"/ I h lltlil 1/1'/* /'('•' Ma' / ... /. 'I //»il. M" > ll-.tl. // ... <-. I'1."'

:.//!/1, //«/r.Z"NI/- ' . ./1 i > . '■ II'.- > // I UO/i

Eric Stemp, Two illustrations of skiwear, Simpson's catalogue, c.1967. Courtesy Daks/Simpson's Archive.

Developed by DuPont before the Second World War, nylon was reserved for hosiery and underwear until its suitability for activity clothing was exploited in the 1960s.

1960s Lycra Ski Suit

ShespomaStoiTel lerslcnc anorak in amber, light blue, t>r geranium. Very simple. sers practical Si/es I» IS. £12.15.0.

uilli trousers in ssorsted nslon in black, r pink. £10.10.0.

I ie wears .1 ros.il blue n>lon anorak. Also in black s»r boltle sreen. £10.10.0. Worn \sitli worsted and lycra ski trousers. in nas> or Mack £11.0.11.

Antonio Lopez, Original illustration of Victor Joris for 'Fashion of the Times', New York Times Magazine, 1965. Pentel, collage and black overlay film. Courtesy Galerie Bartsch & Chariau, Munich.

An early work by Antonio inspired by Pop artist Roy Lichtenstein. Antonio's chameleon-like ability to adapt to the contemporary art scene enabled him to reinvent his style throughout his career.

Kayser BondorAntonio Lopez Illustrations

Antonio Lopez, Original illustration of summer sportswear for British Vogue, April 1968. Pentel and colour overlay film on paper. Courtesy Galerie Bartsch & Chariau, Munich.

Nylon quilted and zipped all-in-one suits for water-skiing by Colsenet at Simpson's, modelled by Donna Mitchell. The swirling print, long Art-Nouveau-style hair and tinted sunglasses reflect the arrival of the psychedelic age.

Hulanicki And Hillson Illustrations

E. Bernais, Miniskirts anc tops by Gina Fratini, 1968. Courtesy Museum of Costume, Bath.

The miniskirt, worn here with a variety of tops, was at its shortest around 1967. The childlike models express the 'baby-doll' look associated with the decade, underlined by huge round eyes emphasized by even rounder sunglasses.

Bobby Hillson, Advertisement for Tricel, c.1968. Artist's Collection.

Culotte jumpsuits in Tricel another synthetic fibre that was used to make fun, easy-to-wear, inexpensive clothes.

Two-way,- new-way. all-shaped c jlolles. Bright for daytime, play-lime or party-lime. A"d a': in Trice!, so easy-care is second nature Ciiottes at Mea'a.vear. They're strides a!>ead

I A.3 »b'?»t<-»s!l.'eataA? v8r»'.'.! it I v through Posla' Ser.-liia!:— L 12 ' C' PIlore Street, l»ndor. .V 1.

Bobby Hillson 1968 Tricel

Tricel

The culotte cult in Tricel

Two-way,- new-way. all-shaped c jlolles. Bright for daytime, play-lime or party-lime. A"d a': in Trice!, so easy-care is second nature Ciiottes at Mea'a.vear. They're strides a!>ead fro" 3 Vg? so'cctio'- of

!.»". E/e'l'gc Jotk'S In oranges v pjrp'es. S-.-?t ¡aM. Aijojt6jij ». Ce ye: Snirl.va stof Cjlolles, >ellow/flree^,pi blue/

ra-j/e Slt«s 10-14. Ai)Ojt99:ll. R g' i; p;a/Cu!»ltet. p ■ /g'een, b' it'

/s: 5.'. p-'pii. S ;es 10 14 Ao:...' K>, ".

I A.3 »b'?»t<-»s!l.'eataA? v8r»'.'.! it I v through Posla' Ser.-liia!:— L 12 ' C' PIlore Street, l»ndor. .V 1.

Biba Collection Top Western

Anonymous, Barbara Hulanicki, from Biba catalogue, 1968/9. Private Collection.

The Biba mail-order catalogue enabled provincial customers to buy the look. In 1973 Hulanicki took over the former Derry & Toms department store in London, building on its attractions as an Art Deco emporium. It closed two years later after running into financial difficulties.

Bobby Hillson Biba

All colours and prints in the catalogue have been dyed specially for Biba. The two granny prints are recut from original 1910

fabric designs.

Short printed dress by Dorville in Gnu telle single jersey. Fully lined.

Images Derry Toms

[ .umk printed dress l>y I )orvjttc in

Courlclle twill.

Also sliort version. About £18.

I liree sure ways to emerge victorious (torn any social encounters.

One in ravishing, luslilv printed Courteile I will; one mi Courteile and wool woven; one in supple Courteile jersey. All bearing the exclusive Dorville label.

Colours are out to kill at sight.

Now choose whether you're better armed willi hare knees too.

Short check dress and scarf l»y Dorvilie iu (loiirlelle .»lid wool woven. Kully lined.

Kayser Bondor

Short printed dress by Dorville in Gnu telle single jersey. Fully lined.

Short check dress and scarf l»y Dorvilie iu (loiirlelle .»lid wool woven. Kully lined.

COURTELLE

rrive barely ed

[ .umk printed dress l>y I )orvjttc in

Courlclle twill.

Also sliort version. About £18.

I liree sure ways to emerge victorious (torn any social encounters.

One in ravishing, luslilv printed Courteile I will; one mi Courteile and wool woven; one in supple Courteile jersey. All bearing the exclusive Dorville label.

Colours are out to kill at sight.

Now choose whether you're better armed willi hare knees too.

Anonymous, Advertisement for Dorville designs in Courteile fabrics, 1969. Private Collection.

Dorville, established soon after the First World War, specialized in casual, but elegant, clothes. The company was one of the first in Britain to apply US sizing and production methods and later collaborated to launch Courteile with a major promotional and advertising campaign.

Hippie Clothes 1960 1969

Anonymous, Advertisement for Louis Feraud designs in Courtelle fabrics, 1969. Private Collection.

Many designers in the 1960s explored the potential of synthetic fibres, adding to their cachet. Louis Feraud, famous for his use of colour in clothes, opened his ready-to-wear salon in Paris in 1955.

Celia Birtwell, Fabric designs and illustrations, 1969/70. Courtesy V&A Images.

By the late 1960s, the hippy style was replacing the hard-edged designs and stiffer fabrics of previous years. A new aesthetic of swirling pattern and colour lent itself to floaty, sheer fabrics, such as those used by Celia Birtwell (Ossie Clark's wife) and Zandra Rhodes.

1970 Steven Stipelman

Robert Passantino, 'Body Blouse'. Original illustration for Women's Wear Daily, 1970. Marker and collage. Artist's Collection.

New concepts in soft, unsupportive underwear were prompted by the development of synthetic fabrics. Robert Passantino, a staff illustrator on WWD for over 20 years, introduced a clean, minimal style that lent itself to reproducing well on newsprint.

Setsu Nagasawa Illustrator

Robert Passantino, 'Free Form'. Original illustration for Women's Wear Daily, 1970. Rapidograph, prismacolour pencil and collage. Artist's Collection.

Tights were essential with miniskirts, hotpants and jumpsuits. They were available in a multitude of patterns and colours from the mid- to late 1960s.

Antonio Lopez 1970s

Antonio Lopez, 'Bock to Nature'. Original drawing for British Vogue, July 1970. Pentel and overlay film. Courtesy Galerie Bartsch & Chariau, Munich.

An embroidered linen shepherd's smock and matching trousers embody the trend towards rediscovery of a Utopian past and the popularity of authentic handicrafts.

Psychedelic Peacock Drawings

Antonio Lopez, 'St. Tropez'. Original drawing for French Vogue, 1970. Pentel, collage and overlay film. Courtesy Galerie Bartsch & Chariau, Munich.

Antonio's dense fusion of Pop Art, comic strip and psychedelic motifs still manages to show the detail of the clothes, modelled by Donna Jordan.

IS. Her raincoat is in Hr 50"«, cotton, 50% Dacron. / Beige or brown, both with brown I3org lining. Sizes 10-16. £30.00.

\
Steven Stipelman 1970s

25. Luxurious leather jacket. I )ark antique brown.j £49-00. %

24. Eyecatching suede trench coat t in montana or A brick. Sizes 12-r<S.'

Eric Stemp (left and above), Raincoats and tweeds for Simpson's catalogue, c.1971. Courtesy Daks/Simpson's Archive.

Mainstream fashion for the more conventional customer continues to promote classic British style and fabrics. Stemp taught Fashion Drawing at Central Saint Marlins and the 'attenuated elegance' typical of the college style can be seen in his work.

Antonio Lopez Fur For Glamour

Antonio Lopez, 'Fur for Glamour'. Original illustration for British Vogue, October 1972. Charcoal and pencil on paper. Courtesy Galerie Bartsch & Chariau, Munich.

1940s glamour in relatively inexpensive dyed furs. Animal skins and fake furs were popular until the anti-fur campaigns of the late 1980s. Modelled by Grace Coddington, then British Vogue's iconic fashion editor.

Steven Stipelman Illustration

Antonio Lopez, 'Copezio'. Original illustration, c. 1972. Charcoal and pencil on paper. Courtesy Galerie Bartsch & Chariau, Munich.

Capezio of New York started in 1887 as a maker of ballet footwear. Their long-sole ballet shoe was featured by Claire McCardell in her 1941 collection, thereafter ensuring that dance and exercise wear, lines the company would later venture into, would enter the fashion arena.

Ethnic Wear Illustration

Caroline Smith, Illustration for Destiny, c. 1970. Artist's Collection.

A combination of glamour and nostalgia characterizes late 1960s/early 1970s high-street clothes.

Caroline Smith Destiny

Caroline Smith, Illustration tor Destiny, c. 1970. Artist's Collection.

Caroline Smith illustrated for many magazines during the 1960s and 1970s, including Vogue.

Illustration Caroline Smith

Caroline Smith, Advertisement for C&A, c.1973. Artist's Collection.

Smith depicts the tactile qualities of fake fur. C&A, a Dutch-owned store, continues as a purveyor of inexpensive fashions on the high street in Europe.

Fashion Figure Templates 1950s

Caroline Smith, Advertisement for C&A, c.1973. Artist's Collection.

Smith often set multiple images within a frame. Here she depicts the peasant-style prints that were a feature of the ethnic influences popular at this time.

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