Kenneth Paul Block

Kenneth Paul Block revelled in a time before the fashion magazines were riddled with solely photography.

“There is no better representation of how elegant women looked and dressed during the 20th century than what Kenneth left us. I think a lot of style went out of New York when he died.”

Kenneth Paul Block was one of the foremost fashion illustrators of the 20th century. Block’s sharp yet graceful brushstrokes captured the most important styles of the post-war era, including collections by Norman Norell, Yves Saint Laurent, Coco Chanel, Givenchy and Geoffrey Beene. In the introduction to Drawing Fashion: The Art of Kenneth Paul Block, published in 2008, described Block’s influence: “More than any single designer, he gave New York fashion its sophistication. Because he drew Babe Paley and Jackie Kennedy a certain way, they became what he had envisioned.” He was also one of the first to document up-and-coming designers Marc Jacobs, Perry Ellis and Halston. Additionally, Block reported on some of the most fabulous parties of the time capturing images of fashion icons Jacqueline Kennedy Onassis and Babe Paley; making this collection a true historical representation of the time.  

Block often drew under intense deadline pressure. In the May 2009 issue of Vogue, photographer Steven Meisel, who began his career as a fashion artist, recalled Block’s composure: “He would sit there with this long cigarette holder and a polka-dot bow tie, always a sports jacket, immaculate. He never lost his temper. He had so much style, so much class, so much chic.” Block was inspired by the glamorous film stars of the era and by the great fashion artists then, working for Vogue and Harper’s Bazaar. Dance and music also had an impact on his developing artistic style. In 1945, he graduated from the Parsons School of Design. When Block started at Fairchild Publications in the 50’s his early assignment work included sketching New York ladies on Easter Sunday as they exited churches in their holiday finery, hats and gloves included. As the behaviour of the 1950s gave way to the sixties and beyond, he always kept up with the trends, though he regretted the loss of dignity in fashion; he missed hats and gloves. Even before Block’s career began, photography had begun to overtake fashion illustration as the primary method of introducing new styles, therefore a lack of fashion illustrators were needed in the industry, which lead to the loss of Blocks job in 1992. Block helped keep his profession going.

Italian Coats: Ferragamo, Genny, Versace, Krizia, 1990s.

Blocks Illustration (above ) is a very interesting piece. The colours used are so beautiful and all work very well together. I especially like how the colours on the one furthest left work together and blend well to give tones of different colours. When you look at the illustrations you can almost envision the 2D illustrations coming out of the page into a world of 3D. I could certainly picture myself wearing his illustrations. I love how each of the design used different shapes in it. Whether it is in the print of structure. On the third illustration I love the colour used in the print. I think it gives just the right vibe and looks amazing. When I look at it, I do not see one of the same print. Each stroke had a different way to it. It’s just so original! Also from first impressions you can tell the era is most likely the 90’s or 00’s because of the silhouettes of the illustration designs.

Coco Chanel Collection

How simply Block was able to illustrate Chanel’s collection denotes how amazing he was. It almost looks as though he just sat a scribbled a beautiful mess. Its amazing how he has captured the drape of the dress as the model is moving around with random lines. You can clearly pick out the drape and style of the clothing on the illusration. 

Other illustrations by Kenneth Paul Block

I definitely love Block's work and it is something I can take in and process my own Illustrations from because of the era he was drawing in and they style of elegance he portrayed in his work. Although is was more based in  New York and was influenced by his environment. He still was able to work with the most iconic Parisian designers around at the time; Coco Chanel and Yves Saint Laurent.                                                                       -L 

Antonio Lopez and Roger Duncan

Antonio Lopez

Antonio Lopez was a big fashion illustrator in the 70's. He was known as the Picasso of fashion illustration. He captured the pulse of style from the 60s to the 80s, and is still revered as the most inspiring illustrator by today’s practitioners. He worked with a variety of materials including pencil, pen and ink, charcoal, watercolor and polaroid film. His work appeared frequently in Vogue, Harper’s bazzar, Elle. 

In the early 60’s Antonio free-lanced for Vogue, Harper’s Bazaar, Elle, Gentlemen’s Quarterly, and Andy Warhol’s Interview. By the end of the decade Paris beckoned where he soon established both career and a lifestyle that saw him surrounded by an entourage of beautiful men and women. Antonio was known to be the number one unpaid model scout in Europe. When he called an agent or a designer suggesting a new face, they didn’t hesitate. Jerry Hall, Pat Cleveland, Donna Mitchell, Grace Jones – all became a part of the Lopez group of beautiful people who frequented the clubs of Paris, particularly the Paris disco Club Sept.

Returning to New York during the middle of the 70s, Antonio’s work appeared in almost every fashion publication of the decade on both sides of the Atlantic. His work was always evolving and he used a variety of materials – pen and ink, pencil, charcoal, watercolor – often combining several within the same image. His unique style of illustration injected a sense of movement and energy that had been missing from the medium and he joins company with past illustrators like Erte, Bolin, Dali, and others who have had a hand in raising fashion illustration to an art form. 

The reason I like his style as it is very free and minimal. He's line work captures the drape of the fabric effortlessly and is really inspiring. It definitely catches the purpose of it and draws you in. 

Roger Duncan

There was a shape and feeling in Duncan’s dynamic brushstrokes and glowing gouache colours, which, coupled with his ability to capture a likeness in just a few lines, were much appreciated by American Vogue. They regularly commissioned from him both fashion drawings and portraits of elegantly dressed socialites.

I love Rogers pieces, they definitely fit the Parisian Chic style with the classyness and rough sketchiness of it. I definitely want to give with style ago when it comes to my illustrations. I love how its not precisely neat gives it and edge of the Parisian style. How it looks classic. 

Fashion Illustrators...

Hayden Williams

Im thinking about keeping my illustrations black and white as Hayden Williams has done this breakfast at tiffany's illustration. I love the classic style and feel it gives to the illustration. However I will try different colouring patterns and shades.

I have been looking for fashion illustrators work for inspiration when it comes to me having to draw my illustration. Im loving the illustration that has an actual image of Paris as the background with the illustration on top, it adds more reality to the illustration than it already has. 

Art Nouveau

Art Nouveau (1880 – 1910) was a reaction to academic art through the use of organic forms, curved lines, and unity with the natural environment. People embraced it by bringing this decorative style into their households and supporting it in the fine arts as well. A new style that rejected the imitation of the past. Art Nouveau embraced new materials and electrical lighting as well as modern industrialization. It is a blending of art which included art glass, painting and sculpture. A period of great exploration and the embrace of returning to nature. Art and the objects of art become a part of the interior. It was a style that was very ornamental, but it was not based on past historical design and it always referenced nature. Below are pictures that highlight "a new style for a new age". I personally find the style the quirky and very appealing. As to whether it fits my Parisian Chic I am uncertain yet, I will need to make some mock screen prints with the Art Nouveau style. 

I have started looking pattern inspiration for the Art Nouveau. I am loving how the pattern is really twisting and curving. 

A French designer I have took interest in is Louis Majorelle. I came across him whilst looking for Art Nouveau inspiration. Louis Majorelle was a French decorator and furniture designer who manufactured his own designs, in the French tradition of the cabinet making. He was one of the outstanding designers of furniture in the Art Nouveau style. The Majorelle firm's factory was designed by famous École de Nancy architect Lucien Weissenburger in the western part of Nancy. In the 1880s Majorelle turned out pastiches of Louis XV furniture styles, which he exhibited in 1894 at the Exposition d'Art Décoratif et Industriel [Exposition of Decorative and Industrial Art] in Nancy, but the influence of the glass- and furniture-maker Emile Gallé, inspired him to take his production in new directions. Beginning in the 1890s, Majorelle's furniture, embellished with inlays, took their inspiration from nature: stems of plants, waterlily leaves, tendrils, dragonflies. Before 1900 he added a metalworking atelier to the workshops, to produce drawerpulls and mounts in keeping with the fluid lines of his woodwork. His studio also was responsible for the ironwork of balconies, staircase railings, and exterior details on many buildings in Nancy at the turn of the twentieth century. Some of his original woodwork designs can still be found in Grand Hotel Moderne, Lourdes. Often collaborating on lamp designs with the Daum Frères glassworks of Nancy, he helped make the city one of the European centers of Art Nouveau. At the apogee of the Belle époque, during the 1900 Paris World's Fair,  Majorelle's designs triumphed. By 1910, Majorelle had opened shops for his furniture in Nancy, Paris, Lyon, and Lille.

Surface Pattern Inspiration...

I am looking at French architect and buildings for surface design ideas for my FMP. I am either going to screen print or embroider it. I want to use it as the back drop for my collection or as a possible print on my garments.

The first building I looked at was the Ferdinand Cheval Palace, France.

This building is very quirky and great for design inspiration. THE STORY BEHIND IT: One day, French postman Ferdinand Cheval was making a walk, suddenly a stone fell at his head. He was OK, picked up the stone and the next day returned to this place, gathered a lot of these stones and was full of eager to create a building out of the beautiful stones. He spent 33 years building this “Ideal Palace” as Ferdinand Cheval called it.

I love how the building is a simple design made up with fascinating detailing and care with each little bit that goes into it. From this you can take away the idea of putting simple things together but layering them also. This can be done with clothing as well. I can also denote some clothing aspects within it such as seeing  flared bottom trousers with in the supports. This beautiful building would be great for use in a surface design pattern by being screen printed.

This would be another good building to screen print, possibly just the silhouette and make it repetitive. I could see this being good layered over one another and changing and playing with the colours. 

Another thing I love from the French architecture is the beautiful balcony railings. The pattern in the railing is so beautiful and definitely fits the Parisian Chic style and could potentially be used for lining in garments such as the cape I plan to make.

The Eiffel tower is a clear main attraction to Paris, France. It's iconic and would suit the purpose of the Parisian Chic. Even though it being a beautiful piece of architecture its a common choice for most people looking into the parisian style. Although I would still like to incorporate in my work somehow.

History of the cape

I got my inspiration for a cape whilst browsing on tumblr. I often reblog alot of styles of fashion and fell in love with the Chic street style, which then led me onto the Parisian Chic Style. The one idea I fell in love with was the cape jacket. Immediately I wanted to design my own version of this. 

A cape is any sleeveless outer garment, such as a poncho, but usually it is a long piece of clothing that covers only the back half of the wearer, fastening around the neck.

In fashion, the word cape usually refers to a shorter garment and cloak to a full-length version of the different types of garment. Nowadays cape/ponchos are used in raingear, a cape is usually a long and roomy protective garment worn to keep you dry in the rain. These are very efficient and do the job well, so clearly suit the purpose.

Capes were common in medieval Europe, especially when combined with a hood in the chaperon, and have had periodic returns to fashion, for example, in nineteenth-century Europe. Roman Catholic clergy wear a type of cape known as a ferraiolo, which is worn for formal events outside of a liturgical context. The cope is a liturgical vestment in the form of a cape. Capes are often highly decorated with elaborate embroidery. Capes remain in regular use as rain wear in various military units and police forces, for example in France. A gas cape was a voluminous military garment designed to give rain protection to someone wearing the bulky gas masks used in twentieth century wars.

Victorian capes were very beautifully embellished and worn by alot more women during the Victorian period. Before the Victorian period capes were often only worn my men.  In medieval times capes were worn as a status symbol. Peasents were too poor to own a cape, and could never afford the luxuary fabric they were created from. 

 Capes, especially those made of hard-to-acquire fabrics or in difficult to acquire colors, helped one determine and emphasize their social position. Capes differ in this regard from cloaks in that capes serve a purely social and extraneous function. Whereas cloaks were the clothing equivalent of swiss army knives (could be used as jacket, windbreaker, heavy duty coat, etc) capes were the province of royalty and well-to-do, who could afford to have articles of clothing for purely decorative purposes. And since knights often came from well-connected families, wearing a cape further embellished or reinforced their extreme social status. Capes were removed prior to the actual joust and were never taken into actual battle, unless the knight was particularly vain and snobbish, but that was an exception rather than a rule.

 
Some Knights wore capes that had the House Colors that they belonged to on it. Others wore it as ornamental, others for show of Prestige or class level within their house. During the Crusades the Knights for capes showing the cross of Christianity to distinguish between them and Muslims. Another reason for wearing a cape was to keep your armor clean or unscratched before a Jousting Tournament or just to keep warm. Remember they were wearing 90lbs of metal and that was not warm at all.


In full evening dress, ladies frequently use the cape as a fashion statement, or to protect the wearer or the fine fabrics of their evening-wear from the elements, especially where a coat would crush—or hide—the garment. These capes may be short (over the shoulders or to the waist) or a full-length cloak. Short capes were usually made of fur; however, because fur is less accepted as a fashion accessory in modern times, other expensive materials are substituted for it, with a luxury lining and trim. Typical fabrics used are velvet, silk and satin. Capes are still authorized as an alternative to the more utilitarian trench coat for U.S. Army officers in mess dress, formal evening uniform.


Elvis Presley was famous for his wearing of a customized cape designed by Belew. It was named the  "Aloha from Hawaii" cape. The floor-length cape, designed by Bill Belew, has an eagle design across the back composed of prong-set studs in red, blue and gold on a white ground. The cape is lined in blue satin. Presley worked closely with Belew to design a motif for the cape that represented America for the 1973 concert that was broadcast via satellite. Presley reportedly wanted to use the cape to hide behind during the Aloha intro and then drop the cape to reveal himself to the audience. The completed cape was found in rehearsals to be too heavy for the actual performance. Belew created a shorter version for the actual performance. Accompanied by a certificate of authenticity from Greg Howell of Elvis Presley Enterprises, Graceland.