Fukai Kuni
http://www.piaper.dk/postkortkunstnere/Postkortkunstnere/Gerda_Wegener/Gerda_Wegener.htm
something seventies
From the slipdress to the miniskirt...
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STRIPED FOR ACTION! [1969] These are the clothes to slip on and roar away in. Fearlessly. Because they're made in this-minute styles by Toplet. In that great give-and-taker knitted Courtelle. Running, jumping, standing still, they look good, feel good. And when the day is over, you just wash them through. Then it's ready, steady, go, all over again. Left to right :Roll-neck sweater style CT/1432 about £6.2.6; trousers style CT/1433 about £5.15 both knitted by Toplet in Courtelle. Hooded dress knitted by Toplet in Courtelle, Style CT/1430. About £7.12.6. Shirt-neck dress knitted by Toplet in Courtelle, style CT/1431. About £7.12.6. Tunic and scarf style CT/1434 about £6.17; trouser style CT/1433 about £5.15. Both knitted by Toplet in Courtelle. IMAGE CREDITS All content scanned and transcribed by Sweet Jane from FLAIR with fashion October 1969.
Biba calendar – 1972 Illustration by Malcolm Bird
When the Japanese decide to do a thing right, they really do it right. The current case in point is the cover art that Satsuko Okamoto produced for the magazine Teen Look in the late 1960s. Her fresh and playful use of color and pattern and symmetry contribute to her notable and distinctive body of work, one that any young graphic designer would do well to imitate. There is very little information in English out there about Teen Look or Okamoto, which is a shame. I was able to discover that the magazine started in the spring of 1968 because of a brief snippet of text on Google Books I found from a 1969 issue of New Scientist in which they were making fun of the poor English discovered in a Japanese trade magazine at the Frankfurt Book Fair. To be fair, the English is pretty bad. Here’s the text: “In April, 1968 started the Teen Look, a weekly for girl students of junior and senior high schools, which met with favourable acceptance as the magazine presenting sound dialogue between the adolescent girls delicate in sentiment and the parent….” Unfortunately, the excerpt ends there. There are lots of Okamoto’...
1972 fashion illustration.
Magazine Management Co. Inc. Illustrated by Stan Goldberg November 1968
retrohound.org
When the Japanese decide to do a thing right, they really do it right. The current case in point is the cover art that Satsuko Okamoto produced for the magazine Teen Look in the late 1960s. Her fresh and playful use of color and pattern and symmetry contribute to her notable and distinctive body of work, one that any young graphic designer would do well to imitate. There is very little information in English out there about Teen Look or Okamoto, which is a shame. I was able to discover that the magazine started in the spring of 1968 because of a brief snippet of text on Google Books I found from a 1969 issue of New Scientist in which they were making fun of the poor English discovered in a Japanese trade magazine at the Frankfurt Book Fair. To be fair, the English is pretty bad. Here’s the text: “In April, 1968 started the Teen Look, a weekly for girl students of junior and senior high schools, which met with favourable acceptance as the magazine presenting sound dialogue between the adolescent girls delicate in sentiment and the parent….” Unfortunately, the excerpt ends there. There are lots of Okamoto’...
Scanned from 19 Magazine, September 1971.
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Last week's series on the Blue Book artists certainly prompted an abundance of comments. That pleases me greatly, since your participation makes putting this blog together all the more rewarding. The broad-ranging discussion involved some challenging opinions about the merit of developing a 'signature' style vs being adaptable to changing trends. Some people felt that adapting elements of style or technique made popular by other illustrators was synonymous with "aping" that artist's style. They were insistent that success lies only down the path of studiously developing a very personal look - and that any borrowing from others was "a dead end". While I support their choice, I personally believe there is a creatively and financially rewarding alternative - and offered myself as living proof. If you compare my editorial art portfolio with my advertising art you'll see that I have managed to live by my word (and pretty well at that). For twenty years I've enjoyed a stimulating career by being what some would call a 'jack-of-all-trades', dabbling in many styles, often tailoring my work to suit my clients' needs - and the changing tastes of the industry and the public at large. When I see work by others that intrigues me, I want to "play with their toys". Personally I feel your own style emerges no matter what surface technique you cloak it in. I've always been restless when it comes to style, and never felt much need to steadfastly hone "The Leif Peng Style". No, my choices have not made me famous. Fame has never been a high priority on my career agenda, but I can understand why it might be for some. I've often thought that illustrators are sort of "shy actors" -- we let our work take the stage in our place. Naturally, we want the audience to like us and acknowledge our skills. In that sense, some degree of fame enters the picture, I suppose. So this week, a selection of "famous" (and I use that term with some chagrin) artists who did pretty well by experimenting with styles and techniques as they pleased - or as their clients pleased. Let's begin with the best: Al Parker. Parker was known for his experimentation... always six months ahead of his competitors. As I said in one of my comments, of course it would be ideal to be the trendsetter. Al Parker enjoyed that status for a very long time. But even if you can't be an Al Parker, you could do a lot worse than to follow his lead. This last scan is from Charlie Allen, who attributes it to Al Parker (and I agree). Last week Charlie showed some great examples of how a pro adapts to changing trends, just as Parker did in the late 60's piece above. Regarding his efforts to work in the 'groovy' early 70's style, Charlie wrote "I felt out of my 'comfort zone' on these...but as usual, had fun trying something new." This week, Charlie has a new selection of images at Charlie Allen's Blog that again demonstrate what a consummate professional he was. * My Al Parker Flickr set.
