This can start with a funny phrase or idea, which will then spark a whole direction of shapes, graphics, and illustrations. Often, I will sit with my sketch books and just see what comes naturally. I am constantly on the lookout for vintage children’s clothes, which have the most fun graphics and trims, and I’m always adding to my archive of these pieces. HK: I get inspiration from so many places but will often look to vintage children’s books and clothing when I start a project. How have you developed your personal art style and where do you find inspiration? Ugh, his mind.D23: While you have a talented team of artists, you often create designs on your own. Sometimes he wouldn’t even put the dresses on his models: He would have a model pose in her underwear, lay the dress out, and draw it as he thought it should look. In the documentary Antonio Lopez 1970, ex–French Vogue editor Joan Juliet Buck says that David Hockney explained it to her like this: “If you look at film of an elephant walking through the savanna, and a cartoon of an elephant walking through the savanna, the cartoon gives you so much more the feeling of the elephant, because there’s something in the rendering, rather than the recording.” Antonio didn’t record, she said-he rendered. In a 1982 sketch he composed for Italian Vogue, a headless, besweatered masculine figure digs his tattooed forearm into his chinos. A 2012 monograph, Antonio: Fashion, Art, Sex & Disco, by the brothers Roger and Mauricio Padilha, offers an appreciation of that side of Lopez’s work. He was attracted to both men and women-he was briefly engaged to Jerry Hall, another discovery of his, and he slept with many of his other female muses-and that eroticism leapt from his pen regardless of gender. The Lopez group’s libertine charge was no doubt spurred by Lopez himself, whose sexuality powered his work. (Pictured: Josie Novack, Jane Thorvaldson, Lilliana Cavendish, Lari Taylor, Joanne King, Vivianne Castaños, Yejong, Virginia Shadick, and Antonio) © The Estate of Antonio Lopez and Juan Ramos (Cleveland was known to occasionally strip mid-party-or mid-catwalk.) They were Antonio drawings come to life, essentially.Īn Antonio Lopez illustration for G.Q. They painted their faces in wild colors, at Lopez’s suggestion, and they refused to walk staidly down the runway they danced, they smiled, they had fun. Not only was it a multiracial coalition-Cleveland was a rare black supermodel, and Grace Jones and Tina Chow would eventually join in-but they performed the model role in fresh, new ways. The women became Antonio’s Girls, as the clique became known. Lopez’s entourage, which rivaled Andy Warhol’s Factory crew as a New York nightlife mainstay, included Ramos and the makeup artist Corey Tippin, as well as the models Donna Jordan, Jane Forth, and Pat Cleveland. Though they were already fashion-world famous before they arrived in France, things took off even further once they got there. (Pictured: Andre, Leonard Cadiente, Joey Arias, Anita Russel, Xavier Moreau, Zolu, Nany Rugan, and Roxanne Lowitt.) © The Estate of Antonio Lopez and Juan Ramos (It’s generally understood that the signature “Antonio,” when it appeared on a magazine page or in commercial work, stood for the work of both men.)Īn Antonio Lopez illustration for G.Q. The two would become partners in the creative (and, for a few years, romantic) sense, with Ramos doing everything from researching inspiration to coloring in Lopez’s outlines. There, he met Juan Ramos, a fellow Puerto Rican transplant. Lopez had always sketched designs for his mother, but he formalized the interest as a preteen at New York’s Traphagen School of Fashion, then at the High School of Art and Design, and finally at the Fashion Institute of Technology. His father found work as a mannequin maker and his mother as a seamstress. But the fashion illustrator Antonio Lopez stayed put in the realm of the fantastic whether it was in Vogue or Andy Warhol’s Interview or an ad for Bloomingdale’s, he supplied a bit of ephemera that had such force of vision that his contemporaries found themselves bending toward it.īorn in Utuado, Puerto Rico, in 1943, Lopez moved with his family to Spanish Harlem when he was 7 or 8 years old. Photographers capture the slim moment of reality when it all comes together. Models, with their walks and poses, give an idea of what the clothes might look like when people wear them. Fashion best remembers the people who wrangle fantasy into tangible things.
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