I am deeply indebted to all the artists, past and present, whose work fills the pages of this book. I hope I have done them justice and by doing so, done something to counter ihe^d^àrqinalization of fashion illustration. AWmeans of disseminating fashjon,x<fhps consistently and unfairly been '* dged alongside photography; however, cotfcued survival and recent renaissance ~ "' testaient to its value as an important genre and cultural document. Inevitably, there are numerous illustrators wl^e.wdrk I have not been able to include - for every famous name there are dozens of unsung heroes, often uncredited and unrecognized, whose work enriches the pages of so many publications - and for this, I apologise.
I am grateful to the picture libraries, galleries, archives, museums and individuals whose collections I have plundered, and in the case of many deceased artists, to their copyright holders. I would particularly like to thank the following for their expert help and advice: Madeleine Ginsburg of the DAKS/Simpson Archive, London; Professor Aileen Ribeiro of the Courtauld Institute, London; Christine Isteed of Artist Partners, London; Sonnet Stanfill, Curator of Contemporary Fashion at the Victoria and Albert Museum, London; Rie Nii at the Kyoto Costume Institute, Japan; Liz and Philip de Bay at the Stapleton Collection, London; Joelle Chariau and Andreas Bartsch at Galerie Barstch & Chariau, Munich; Herr hm ie
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