in the words of live runway sketchers

interviews,live drawing — Danielle on March 30, 2014 at 11:04 am

Before I went to New York in January, I was writing an article about live runway sketching prompted by Jazmin Welch, a fashion student who was commissioning articles for her graduate magazine project, CONTOUR. I chose to do an adaptation of this post, a collection of notes I discovered while searching for any information on live fashion sketching. To add to the archival material, I decided to email working artists who live sketch at fashion shows and ask them questions. This research not only supported the article I wrote, but also the talk I gave at the Apple Store in Soho.

I couldn’t include all of the great responses in the article and talk, but Final Fashion knows no limitations. What follows is the work and words of the practicing live runway sketchers from Toronto, Montreal and New York that I corresponded with. If you also have experience and sketches too, I’d love it if you would share in the comments. I’m very curious to hear more European perspectives.

NOLCHA Fashion Week FW13 by Mara Cespon

(more…)

brow menu for Tweezerman

beauty,illustration,portfolio — Danielle on March 27, 2014 at 11:30 am

brow menu 1 web

I created illustrations for a Brow Menu used at the Tweezerman event during fashion week in Toronto. It’s not often I’m so happy with the results of a rush job, so I wanted to share it. Eyebrows are fascinating and it was a pleasure rendering them by brushstroke.

Tweezerman brow menu photo by Stefania Yarhi 1

Photos from the event by Stefania Yarhi.

brow menu 3 webTweezerman brow menu photo by Stefania Yarhi 2brow menu 2 web

silhouettes and signals

history,illustration,live drawing,thinking — Danielle on March 20, 2014 at 1:26 pm

This post is the result of my live sketching lecture, Silhouettes and Signals, performed using Paper by FiftyThree at The Drake Hotel in Toronto on March 16, 2014.

1 eight head ideal

The most essential fashion silhouette is a very specific version of the human body. The Classical ideal is about 8 heads high, and remains resilient in the face of ever-changing fashions, recurring over many millennia since ancient times. It is incredible how the eye instantly recognizes these forms as beautiful, and is drawn to them. To many, the classical ideal represents healthy, natural man, unspoiled by civilization and modern culture, a symbol of rationality. For that reason, this shape can have a sinister quality. That competitive physicality reeks of eugenics and conformity. Human beings naturally come in an incredible variety of shapes, so this rugged or graceful physical ideal excludes almost everyone. For most of us, achieving this shape would require as much effort and artifice as any dandified exaggeration.

2a beauty

Beauty is a peculiar phenomenon. We have an instant, irrational, positive reaction to symmetry and average proportions. Objectively we understand that just because a person happens to have pleasing features by accident of birth, it doesn’t mean that they are a better person, and yet we can’t help but ascribe positive characteristics to beautiful people and pay more attention to them.

3 modifications

Considering this biological instinct to favour “natural” beauty, it’s fascinating how human beings have used fashion throughout the centuries to subvert our own proportions. We will use any technological means at our disposal, whether it’s padding, scaffolding, compression, surgery, propping, binding or prosthetics. We are hungry for novelty and constantly trying to transcend beyond our physical selves, which is why the fashionable ideal often diverges so dramatically from the more conventional “natural” beauty ideal.

4 contemporary silhouettes

The current silhouette for both women and men is top-heavy – oversized jackets, muppet furs, statement sweatshirt and tunic-length shirts for men. Fashion-forward men – even hyper-masculine rappers –  are beginning to adopt skirts. When men and women’s lives are similar, so are their fashionable silhouettes. The male and female silhouette has evolved in tandem ever since the 1970s.

5 class based silhouettes

This was not the case before the masculine renunciation of fashion. In the 1500s, both male and female fashionable silhouettes diverged wildly from the natural human form and from each other, with big ruffs, tall hats, bombastic sleeves and abstract torso shapes. Back then, if you didn’t have an exaggerated silhouette it was a class-based distinction – the poor simply couldn’t afford fancy collars and lots of fabric and accessories to achieve a fashionable silhouette.

When the revolutions of Europe shifted towards democracy, men renounced fashion as a way to demonstrate the ideals of equality and the value of work, and the weight of wearing wealth literally fell upon women. This is when fashion became “feminized” as we recognize it now.

6 domestication and upholstery

The feminization of fashion led to the upholstering of women. Women’s lives became so dramatically different from men’s that their silhouette became exactly opposite. Their clothing was literally constructed as heavily as furniture, and in the 1860s skirts became so wide women couldn’t wear coats – complete domestication.

The bottom-heavy, big-skirted silhouette still exists today in the context of prom dresses and bridal gowns. Women wear this as a very formal, ultra-feminine sexual display. Covering your legs this way is coyly enticing, a “look at me, don’t look at me” game – it totally covers the lower half of your body and yet also makes the lower half of your body the biggest thing in the room.

7 abstinence and bifurcation

Of course long skirts, negating the split between the legs, is traditionally a symbol of chastity. That’s why you only ever see men wearing them in the context of religions that uphold the idea of abstinence.

8 bondage and bieber

The current youthful silhouette, embodied most recognizably by Justin Bieber, has a very long torso and short little legs. It’s a look that evokes bondage and prison culture, which is interesting to consider in terms of the attitude of contemporary youth. It’s also very sexual – the pants come pre-dropped – but the sexuality is deviant, indulgent, and nihilistic. The way the legs are bound limits the gait of young men – the essence is “why bother? Might as well get our rocks off now, there’s no future worth running towards.”

9 twiggy helter skelter

Contrast that with the youth of the 1960s exemplified by the model Twiggy. The broad gait and short skirts are also extremely sexual but the sexuality is more promiscuous and conventional by 21st century standards. The attitude is, as the Beatles sang, helter-skelter. It’s youth on uppers, youth on speed. The essence is essentially optimistic – kids are striding forward into a space-age future. A far cry from Bieber-style bondage, this silhouette says “go for it, we are free and the possibilities are unlimited.”

10 I V A

Ever since the 1970s, the standard silhouette has been pretty close to the most minimal simplification of the human form – as upright animals, our most essential symbol is the letter I. Sure, it varies a bit – getting a bit bottom-heavy in the 1970s and 1990s, and more top-heavy in the 1980s. This is a very broad generalization, but I think it holds up: top heavy silhouettes are more conservative, bottom heavy silhouettes are more liberal. Think about it – if you’re dressing for a job interview you’re more likely to go top-heavy – it’s more structured, authoritative, formal. A bottom heavy silhouette allows itself to be pulled by gravity – it’s more laissez-faire, permissive, and relaxed – better for a house party.

11 trapeze to tuxedo

Up until the 1970s, female silhouettes diverged dramatically from menswear – but Yves Saint Laurent changed all of that. His first collection for Dior after the death of Christian Dior was an abstract shape – the Trapeze silhouette. But now we remember YSL for the Tuxedo, most iconically in that Helmut Newton photograph. It’s an androgynous silhouette about sexual liberation – but it’s also about liberation from the old fashion system, liberation from the idea of designer as dictator.

12 1800s skirt shapes

In the 1800s, silhouettes shifted each decade – skirts were like domes in the 1860s, like trumpets in the 1870s, and had bustles so big in the 1880s that there was a popular joke about balancing a tea service on them. This constantly shape-shifting kept women constantly updating their wardrobes – wearing an 1860s crinoline in the 1870s was simply not done if you wanted to belong in fashionable society.

When Christian Dior launched his business in 1947, he wanted to bring back the glory days of French fashion authority after the setbacks of World War Two. He did this by creating new, exciting shapes each season, just as Worth had done in his glory days. It was a very nationalistic, authoritarian and capitalist business model that worked like fossil fuel for re-establishing French fashion industry in the 1950s.

13 H line Y line A line

In 1954 and 1955, Dior did three lines inspired by letter forms. In 1954, the H-line was straight up and down. In 1955 the Y line was top-heavy, and the A line was bottom-heavy. Dior was a publicity-savvy designer and perhaps it’s no coincidence that these letters matched the weapons of mass destruction at the time – this resulted in some very topical fashion headlines.

“Alphabetizing” women’s bodies is no longer seen as a positive thing. The young people of YSL’s generation didn’t buy it, and Saint Laurent responded by flipping the designer model on it’s head, and instead of dictating “lines” to his clientele, he was inspired by the lives of the fashionable women he knew and the way they dressed.

14 S line V line

If alphabetization was introduced by a Western designer today, it would certainly be heavily criticized as a patriarchal, oppressive categorization of women’s bodies. But in South Korea, alphabetization is currently a popular sales tool – hyper-feminine S-lines and V-lines are used to sell body products and health food. This kind of rigid classification of the female form according to abstract shapes only flies in conservative societies with rigid definitions of beauty ideals. In Europe and North America, where we are seeing increasing social and sexual fluidity and softer definitions of beauty ideals, grading people by letter seems anachronistic.

15 raf vs hedi

Considering the reversal of design philosophies, it’s interesting to consider that the houses of Dior and Saint Laurent continue to uphold opposing silhouettes to this day. Raf Simon’s Dior features a recurring X-shape, a modernist simplification of Dior’s hyper-feminine silhouettes. Meanwhile, Hedi Slimane’s Saint Laurent Paris continues the tradition a minimalist, long androgynous line.

16 hyperfertile figure

The hyper-fertile feminine silhouette is a lot like the Classical beauty ideal – it provokes an automatic reaction in almost everyone. When the hyper-fertile silhouette is in fashion, as it was in the 1860s and the 1950s, women’s lives tend to be dictated by their biological functions. This hourglass shape is a boon to those who have it and want it, and a bane to everyone else. Celebrities who have this figure have to deal with a much higher level of scrutiny and criticism than famous people with more fashionably slim figures. Perfectly intelligent, seemingly rational people – myself included – are somehow transfixed by Kim Kardashian’s ass. I think it’s a misplaced biological instinct to ensure the survival of the species. Once upon a time, our next generation depended on the sexual functionality of a few hyper-fertile females, and therefore their sexual status was of the highest concern for all members of society. In a world populated by 7 billion, this attitude is ludicrous, and yet we can’t help ourselves. That’s why having a body of this type is a mixed blessing.

17 futurist jumpsuit

Speaking of 7 billion, another anti-fashion silhouette that is fun to consider is the idea of Normcore. Nothing illustrates the breakdown of silhouette-based symbolism better. All silhouettes now are layered with contradictory meanings, and the media environment is so dispersed, there’s no way a single look could ever have the impact of Dior’s 1947 “Bar” ensemble. The subversion of the idea of “normal” is very timely in the light of questioning the value of beauty ideals.

Still, it is a manifesto-based trend and as such is reactionary against the fundamental precept of fashion – that we wear clothing in order to appear better than other people. It reminds me of the Italian Futurist movement, which also proposed an anti-fashion silhouette – T-shaped jumpsuits – as a way of liberating humanity from the tyranny of trends. This kind of attitude can only be taken seriously by the very young and idealistic – everyone else has acquiesced to the inevitability of our animal instincts over-riding our intellectual ability to reject fashion. Ultimately, no academic manifesto has ever successfully launched a lasting trend.

18 tall hats big hair

The most straightforward way to use fashion to appear better than other people is to use fashion to look taller. Even in modern society, tall people enjoy all sorts of economic and sexual advantages – CEOs are statistically taller (and still referred to as “chiefs”) which shows that we really haven’t progressed much from more tribal societies where the largest man was often chief by default. Historically, people have increased their height with tall hats. Pointed hats indicate a direct connection with the divine – sort of an “I’m With Stupid” shirt for Godliness – like a steeple on a church. Abraham Lincoln, already a tall man, wore a very tall top hat. This made him stand out very visibly as a an obvious leader in the early days of photography.

Tall hair is also an option – think of the towering hairstyles of the Rococo or the hairspray-held bangs of the 1980s. Big hair, pretty obviously, is about big head and big egos – think “let them eat cake”, or “the me decade”.

19 heels and trainers

Now that people don’t wear tall hats or big hair as much, they get their extra status from tall shoes, which over the past decade have been getting ever taller. However, even the most fashionable people have a limit to the angle they can endure. High heels offer status at the price of mobility, and we’ve just entered a reactionary period. Designers like Marc Jacobs and Karl Lagerfeld have been offering couture trainers and flat-footed creepers, and suddenly short – and the ability to walk – seems far more elegant than tall.

20 bauhaus ballet

It can seem like every silhouette ever has already been tried, but the avant-garde have pushed the boundaries of possibility, simplifying and abstracting the human form until it is barely recognizable. The Bauhaus ballet in the 1920s had geometric, playful costumes that made the dancers seem more like toys, and modern artists like David Bowie and Leigh Bowery have built fabulous costumes that push the human form to extremes.

21 dress meets body

In 1996, Rei Kawakubo designed a collection for Comme des Garcons called “Dress Meets Body; Body Meets Dress”. She padded her models in unexpected, asymmetrical areas – like the side of the neck, or the thigh. The fashion media was horrified. We’re not used to seeing non-symmetrical silhouettes and our instinctual reaction to them is to read them as disease. It’s still a very provocative collection to look at because you can feel inside yourself the friction between your animalistic revulsion and your intellectual ability to recognize a novel form of beauty.

22 untried silhouettes

There is really so much that hasn’t been tried in terms of altering our shapes, so many letters of the alphabet yet to be drawn. Asymmetry especially hasn’t been deeply explored – appearing inhuman is in some situations an advantage – such as when you want to avoid being recognized by surveillance technology. With access to ever-lighter materials and rapidly evolving visual technology, future silhouettes could diverge wildly from what we’ve tried so far. What is so incredible about fashion is how it liberates us from our biological fate to be born in the shape of a human – in fact, we can be anything we can imagine.

click click – 13-03-14

click click — Danielle on March 13, 2014 at 8:25 pm

Welcome to click click, the sporadic review of what I find worth clicking on the internet.

Lanvin by Kevin Tachman

Beautiful multiple exposures of FW14 fashion shows on analog film by Kevin Tachman, featured on Vogue. Above, Lanvin. Below, Versace. Lots of links, it’s been a while.

Versace by Kevin Tachman

Karma players,

invitation – performative lecture “Silhouettes and Signals” at The Drake Hotel on March 16

drawing,events,fashion in canada,illustration,live drawing,performance art,toronto — Danielle on February 26, 2014 at 12:54 pm

1403_S+S_Flyer_A

After flying back from live sketching the runways of New York fashion week, I hit the ground sketching in Toronto with a series inspired by the Queen Street West style, currently installed at The Drake Hotel. It was an interesting challenge to draw three times larger than I usually do, inverting the usual value scheme by drawing on black paper, and focusing more closely on the silhouettes by reducing my palette to a single colour.

Now that live sketching fashion shows isn’t as unique as it once was, I want to stretch the skills I’ve acquired practicing this technique, combined with my speaking experiences, to create something new. In that spirit, I’m doing something different at The Drake Hotel on March 16th to kick off fashion week in Toronto.

drake 2
Images Courtesy: Bryan Da Silva/The Drake Hotel

“Silhouettes and Signals” will be a performative lecture combining live sketching on the iPad (using the Paper app) with a trend-theory lecture – sort of a Final Fashion post “in real life”. We’ll be examining various historical silhouettes and discuss identifying social attitudes through style. Sketching my way from the distant past to the 21st century, I’ll discuss how the shapes we make with our clothing are visual manifestations of ideas about sex, politics, money, youth, class, taste and other fun stuff, and even put my skin in the game with a few predictions.

drake header

What: “Silhouettes and Signals” live sketching lecture

Where: The Drake Hotel, 1150 Queen Street West, Toronto

When: March 16th, 2014 at 2pm

Admission: $10

This is the first time I’ve ever done such a thing (although my talk at Apple Soho was definitely moving in this direction), so it will be a novel opportunity for the style-curious citizens in Toronto to see an experimental performance and kick off Toronto Fashion Week in a weirder way than usual. Please come!

drake 1

Images Courtesy: Bryan Da Silva/The Drake Hotel

 

NYFW FW14 live runway sketching portfolio

live drawing,New York,portfolio — Danielle on February 18, 2014 at 8:32 pm

Danielle Meder - BCBGMAXAZRIA

BCBGMAXAZRIA

This season was bookended by two speaking gigs. Before the shows began, I did a talk at the Apple Store in Soho, about sketching runway shows using Paper and Pencil by FiftyThree. It was my first ever proper speaking gig, and I was excited to share everything I have learned about artists at fashion shows, and doing quick sketches on a touchscreen. I also got to talk about live sketching as an emerging trend.

Georg and me at Apple Soho

2013 was the year the tide of live sketchers out there rose noticeably. Not just in fashion either; in 2014 I see people live sketching TV shows and press conferences and sporting events too. It’s a very interesting time to be an illustrator. So naturally, when I approached live sketching this season, the aim was to draw as true to myself as possible – trying to discover in myself what I can bring to fashion week sketches that no one else can bring. Also, I’m preoccupied with thinking about what’s next. Because I like being in on things from the beginning.

Danielle Meder - Carmen Marc Valvo

Carmen Marc Valvo

To me, the sketches from the first few shows I attended seem a bit more hesitant as I’m searching for this season’s vibe. I was aiming towards being wetter and more valiant with paint application, while also simplifying. I used only one brush pen per show this time – last season I sometimes used 3 pens per sketch. I did a bit less sketches per show – around 4 or 5. I also tried to give more generous margin. The result is a portfolio I’m pleased with. Danielle Meder - TOME

TOME

TOME I attended with Rachel, and it was a pleasure to bring her to a much cleaner, more tasteful production than the Herve Leger show we attended last year.

Once I’d warmed into the week, the first show I really grooved on was Son Jung Wan. This designer gave me gold lips and leather when I happened to have a gold pen on me. Plus, shaggy pastel furs. So much fun. Danielle Meder - Son Jung Wan

Son Jung Wan

This was an annoying fashion week for access. There was a sense they were trying to keep out the riff raff, and being somewhat raffish I sometimes felt among that number. There’s this new form of humiliation that certain PR companies commit on the unassuming would-be fashion week attendee. This has happened to me at least once every season at every major fashion week I’ve ever been to, but was executed particularly cruelly this season in New York, and THREE times.

Here’s how it works: you receive a confirmed invitation to a fashion show. It’s a standing ticket. You go to the venue 20 minutes before the show like a reasonable human being. They put you in a corral. Then they proceed to march everyone else past you and your fellow corral-mates. Just as the show begins, at 40 minutes after the hour, a security guard approaches the corral and says that they are at capacity and the show is started already and go home.

You can sense this villainy is about to committed upon you when even the volunteer interns look at you with pity. Some of these companies even make their corral outside in the cold, so you have the option of freezing while they waste an hour of your life, trying to shame you out of wanting to come to fashion week with these bogus invitations.

The weird thing is that I’ve spoken to friends who were on the inside of these shows and they say that the spaces weren’t even packed – that there were even unused seats.

 

Danielle Meder - Yigal Azrouel 2

Yigal Azrouel

Then, the exact opposite happened at Yigal Azrouel. New York Fashion Week embraces as just well as it snubs. Even though they were a bit mystified by me at the media desk (“who are you shooting for?” “No I’m sketching.” “For who?” “For you?”), one of the gatekeepers at the the show recognized me from attending my Apple talk. The venue was great, and even though I was corralled in standing, I had a perfect vantage point – head-to-toe view of the models. Sat on the floor in front of a security guard. No one stepped on me. The sketches were as ideal as the conditions, although they were slightly damaged as I attempted to get them home through a snowstorm.

Danielle Meder - Yigal Azrouel 1

Yigal Azrouel

Another show where everything came together was SKINGRAFT. Seated by People’s Revolution, (and did I detect a nod of approval from fashion hero Kelly Cutrone?) gothic streetwear attitudes on high speed. With just one colour – black – and a touch of gold, plus absolutely no time to think, the sketches were hot.

Danielle Meder - Skingraft 4Danielle Meder - Skingraft 3Danielle Meder - Skingraft 2Danielle Meder - Skingraft 1

SKINGRAFT

Jenny Packham was all sparkly princesses to a 1960s counterculture soundtrack, which I enjoyed on a slightly melancholy level because I had just finished reading the oral history of EDIE. However, I was seated next to a wall of lightbulbs which was sweaty, and I was experimenting with a white pen for sparkly highlights which misbehaved on me and marked my dear innocent seatmate, Andrew Sardone of The Globe and Mail. You know what’s embarrassing? Accidentally painting your fashion editor neighbour.

Danielle Meder - Jenny Packham 1

Jenny Packham

The final two shows I sketched were Concept Korea and J. Mendel. At that point, I was already satisfied with my portfolio so I relaxed a bit. I enjoyed the shows more and allowed myself some more consideration than usual. The results are a touch more deliberately drafted.

Danielle Meder - Concept Korea 2Danielle Meder - Concept Korea 1

Concept Korea

Danielle Meder - J Mendel 2 

J. Mendel

At the end of the week, I did a talk at Parsons for a small but influential audience, thanks to Timo. The subject was my own odd career path. New York as a city often feels like you’re being shouted at: “WHO ARE YOU!? WHAT ARE YOU DOING HERE?!” So for 45 minutes I attempted to answer that booming voice. I tried to be honest.

At the Ruffian show, where I did some iPad sketches for Would You Rock This. I had the rare opportunity to sketch alongside another fashion illustrator, Lily Qian. Lily is very talented – check out what she produced after the Ruffian show here. We were talking shop a bit because I hardly ever find another fashion illustrator to talk shop with – it can be very solitary when you have an unusual job and I always have questions. When the subject of establishing a reputation and seeking recognition came up, Lily said that she felt that just doing good work was enough.

The idealistic side of me gets where she’s coming from. Then again, after seven years of doing this, I don’t think doing good work is enough. I want recognition for the good work I do. And I need to be paid. There I see many amazing fashion illustrators, going without recognition and without being compensated for their efforts , in spite of their good work. I don’t think that’s enough for them. It’s definitely not enough for me. Nothing in fashion is a straight-up meritocracy, and illustration is no exception – you also need determination and dedication, invention and hustle. In a word, you need burning ambition, and you better work.

So if success by my own measure is good work, recognition and payment, and two out of three don’t cut it, how do I achieve that trifecta? Sometimes it feels like picking this career is like picking a lock.

Videocast – Live Runway Sketching on the iPad

history,live drawing,New York,podcast — Danielle on February 13, 2014 at 6:01 pm

Screen shot 2014-02-13 at 5.32.44 PM

If you missed my talk about live runway sketching on the iPad at Apple Soho in New York, you can still attend virtually! It’s available for FREE from the iTunes store. I describe the history of artists at fashion shows, demonstrate how to use Paper and Pencil by FiftyThree to sketch runway looks fast, and discuss why live sketching is having a bonafide fashion moment now.

Heartfelt thanks to Georg Petschnigg, FiftyThree and Apple Soho for inviting me to share my love of drawing and fashion with a wider audience.

beauty sketch made with paper

click click – 03-02-14

click click — Danielle on February 3, 2014 at 3:09 pm

Welcome to click click, the sporadic review of what I find worth clicking on the internet.

rick owens 1

Rick Owens by Steven Meisel, via E.P. Cutler.

  • Ana Kinsella – when it comes to fashion-focused link roundups, Ana gives click click a run for its attention deficit disorder. Great mix of long reads and gorgeous image galleries.
  • Vogue Voices – this wonderful series of famous fashion designer interviews is surprisingly revealing. In conversation with a (silent) Sally Singer, we discover what really preoccupies their minds, whether they embrace or resist change, and how their insecurities and sensitivities inform the way they work.
  • The life of a 1930s model in Clothes Pegs by Noel Streatfeild – a fascinating review of a contemporary romance novel which happened to be written by a former model, perhaps offering a quasi-authentic glimpse on the occupation at a time when it was rarely documented. Also in the category of the rare documentary; behind-the-scenes fashion photographs from the 1960s by Henry Wolf.
  • Principles in Logo Design Pricing – this one struck close to home for me as I’ve recently walked away from a large opportunity on principle too. As a freelancer accustomed to precarity, negotiating a big deal that somehow compromises your sense of what is fair is a truly agonizing experience, and few are brave enough to share their story like this – I know I won’t. Via Anne.
  • Resources on cultural appropriation in fashion – a great primer on a complex subject written by an educator for fashion students – the demographic that needs this information the most. Two tangentially relevant links: via Timo, On Gay Male Privilege, and via Fiona Duncan, Ghetto Fabulous.
  • The Portfolio of Greg Climer: Useful Designer – Timo’s friend Greg has done a lot of intriguing inter-disciplinary projects.
  • Fabulous Fashionistas – terrible title, awesome documentary about older women with inspiring style. Via Rea. Two other takes on age – On Jane Morris and Aging and On Turning 30.

rick owens 2

Karma is real.

speaking at Apple Soho in New York on January 30

drawing,events,illustration,invitations,New York — Danielle on January 28, 2014 at 3:00 pm

yigal azrouel 1

Apple Lecture Description

 

Very excited to announce I’m going to be speaking at Apple SoHo in Manhattan on January 30, 2014 at 7pm. I’ll be demonstrating how to use Paper and Pencil by FiftyThree for quick figure and beauty sketches, narrating the history of artists at fashion shows, and getting trend theoretical about why live runway sketching is having its fashion moment now.

If you’re in NYC on Thursday I’d love to see you! Register to try fashion sketching on the iPad for yourself and learn everything I’ve discovered about this type of fashion illustration.

Danielle Meder by Georg Petschnigg

Photo by Georg Petschnigg for FiftyThree

click click – 08-01-14

click click — Danielle on January 8, 2014 at 12:29 pm

Welcome to click click, the sporadic review of what I find worth clicking on the internet.

From the series Mum

Photographer Nancy Newberry’s portraits of Texas teenagers and their ‘mums’ celebrate a form of modern folk art unique to American youth culture. Via Paige.

From the series Mum

Karma mums to pin on you…

  • Why did you wear that?“social commentary on love, life, fashion, and all things obnoxious.”
  • Paper Doll School“I spend as much time as I can creating art of all kinds, including my life-long hobby: paper dolls.”
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