LUXURE ART

uring the first decades of the twentieth century, fashion illustration transformed from the formal and constrained styles of the nineteenth century

into an independent art form. Lepape, Benito and Bakst epitomised the Gazette du Bon Ton era between 1912 to 1925. Throughout the 30s, 40s and even the early 50s Erickson, Willaumetz, Bouché and Gruau created fashion illustrations which remain iconic in communicating the styles of the time. Yet by the 70s and 80s only specialist illustrators like Block and Antonio kept the craft alive.

In the late 1990s a new name joined the roll call of the greats. David Downton reflects the craft of his predecessors with a zest that speaks of the now.

How did this come about when photography is so firmly established as the communication method of both fashion itself and style icons within the world of fashion? David Downton combines two of the great characteristics of the golden age of fashion illustration: an extraordinary ability to be sparing with line and a love of beautiful women. When drawing Catherine Deneuve or Amanda Harlech his pen swiftly imparts the salient features of his model on to paper with no wasted flourishes; he has clearly established a rapport with his subject. In the same way, his semi abstract line depicts Jade or Erin as a character as well as capturing the particular garment she might be wearing. The elimination of extraneous detail and reliance on line recalls Eric or Gruau yet has not a single hint of pastiche in its execution.

The other important element which reflects this golden age is Downton’s focus on the model and the lost art of ‘the sitting’. David Downton may use an initial pencil sketch, collage, paper cut work, gouache, coloured inks - even the

D common felt tip pen. It is often this combination of techniques and his technical confidence which brings such life and vividness to his rendering of a taffeta ball gown or gem encrusted chandelier earrings. The artistry and observational techniques which he brings to his work are reflected in the diversity of clients and commissions he undertakes. Commissioned portraits, advertising campaigns, editorial and limited edition portfolio work are all part of his extensive repertoire.

His work is to be found in publications, but also hanging on the walls of a boutique hotel and his contacts and relationships within the highest echelons of the fashion world enable him to work with some of the most exquisite clothing and models available during any given season.

Technically assured, Downton understands the contribution that paper weights, colour balance and typography make to the balance of the final outcome. His sense of space and proportion, a deep understanding of the structure of the human body, his feeling for the swing of a skirt gives a unique strength to his work reflecting the heritage of his craft and bringing it right into the present. In this age of the digitally enhanced image, the heavily retouched and the mechanically reproduced, it is exciting to discover there is still room for the craft of fashion illustration and the sheer wonderment it brings .

David Downton has a following which stretches from Sydney to New York, a following which goes to prove that however digitised the world becomes, people are still astonished by the art of being able to take a pencil and draw in pure line. Talent and technique have always epitomised the best of fashion illustration: may they continue to do so well into the twenty first century.

David Downton

Lady Amanda HarlechHotel Ritz, Paris, 2000

Coat: CHAneL Haute Couture

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Catherine DeneuveHotel Lutetia, Paris, 1999

Jacket: Yves sAint LAuRent

erin O’ConnorParis, 2002

Headdress: stePHen JOnes for CHRistiAn DiOR Haute Couture

88 LUXURE LUXURE 89

Dita von teeseHotel Crillon, Paris, 2008.

Dress: CHRistiAn LACROix Haute Coutureearrings: CARtieR

Linda evangelistaHotel Four Seasons, Paris 2004

Hat: PHiLiP tReACY

Rachel WeiszLondon, 2004

Dress: nARCisO RODRiguez