Illustrated Men

0.1 Lamont O’Neal—Fashion illustration—Gucci.

Illustrated Men
Drawing and Rendering the Male
Fashion Figure

­Lamont O’Neal
 ­BLOOMSBURY VISUAL ARTS
Bloomsbury Publishing Plc
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First published in Great Britain 2023

Copyright © Lamont O’Neal, 2023

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Names: O’Neal, Lamont, author.
Title: Illustrated men : drawing and rendering the male fashion figure / Lamont O’Neal.
Description: London : Bloomsbury Visual Arts, 2023. | Summary: “The ultimate guide to
drawing and rendering the male fashion figure”– Provided by publisher.
Identifiers: LCCN 2022012053 (print) | LCCN 2022012054 (ebook) |
ISBN 9781350125469 (paperback) | ISBN 9781350125476 (hardback) |
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Subjects: LCSH: Fashion drawing–Technique. | Men in art.
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DDC 741.6/72–dc23/eng/20220819
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ISBN: HB: 978-1-3501-2547-6

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­For Tim
 ­CONTENTS

­Acknowledgments ix 3 Movement 71
Preface x The Balance or Center Line 71
Action Lines 75
Introduction 1 Contrapposto 77
The Fashionable Male: A Brief History in Walking Poses 77
Four Figures 1 Foreshortening–Sitting–Bending 81
Gestures 84
1 Men’s Fashion Illustration: An Direct Sketching 85
Overview 13 The Croquis 86
The Golden Age of Men’s Fashion
Illustration: 1919–39 17 4 Drawing the Clothed Figure: Creating
The Post-War Years: 1945–60 20 Dimension 89
The Silver Age of Men’s Fashion Illustration: Line and Contour 89
1960–89 21 Directions 91
Men’s Fashion Illustration Today: 1990– 28 Shape Within Shape 92
Mass 93
2 Drawing the Male Fashion Figure 37 Combining Shape Within Shape and Mass 94
What Makes a Good Fashion Drawing? 37 Line Quality 94
What Is the Difference between a Shadows and Tension Lines, Wrinkles, Folds,
Design Sketch and a Fashion and Draping 97
Illustration? 38 Light Sources 98
Proportion 39 ­Folds and Tension Lines 99
Basic Anatomy and the Simplified How to See and Draw from a Live Model,
Construction of the Figure 44 Photograph, or Template 105
A Simplified Construction of the Figure 48 Creating a Picture 120
The Upper Torso 48
Arms, Legs, Hands, and Feet 49 5 Drawing the Garment: Details 129
Drawing the Male Head 52 The Basics: Suit and Blazer 129
Art Supplies: The Tools of an Artist 64 Drawing a Double-Breasted Jacket 137

vi
 Outerwear 152 7 Digital Art 245
Knits and Sweaters 158 Creating Digital Freehand Drawings 247
Sportswear 164 Other Drawing Apps 251
Accessories: Hats, Shoes, and Bags 172 Converting Hand-Drawn Figures into
Digital Design Sketches 251
6 Rendering Techniques 185 Developing Digital Garment Flats 256
Color Rendering: Marker, Color Pencils,
Watercolor, Gouache, Collage, and 8 Profiles 265
Mixed Media 185 Cody Cannon 266
Working with Color 186 Carlos Aponte 268
Wet Media 189 Mengjie Di 270
Color Pencils 202 Brian Lane 272
Pastels 208 Ryan McMenamy 274
Collage and Mixed Media 209 Emee Mathew 275
Menswear Fabrics: Rendering Yarn-Dyed Francisco Cortés 277
Fabrics 209
Pattern and Texture 212 Bibliography 280
Sheer and Shiny Fabrics 229 Template 282
Repeat Patterns 234 About the Author 283
Technical Drawings: Flats and Floats 234 Menswear Glossary 284
Index 287

­Content  vii
 ­ACKNOWLEDGMENTS

I­ am very grateful to the many people who have Grateful thanks to Shireen Soliman and Deb
made this book possible. Thanks to my publisher Kasten for their constructive input and insight.
Georgia Kennedy, my editors Faith Marsland and They helped to make this a better book than it
Belinda Campbell, and others at Bloomsbury for might have been.
their unwavering support and encouragement. Thanks to Steven Stipelman, who suggested
For a first-time author, one couldn’t ask for a this project, for his support and guidance. It is
better team. because of him that this book exists.
I was also lucky enough to have access to an Thank you to all the artists and designers who
entire art department in my long-time friend, so generously contributed their work. My aim
Steven Lau. Steven approached this project with was to show the variety and breadth of menswear
his customary intelligence, zeal, and diligence, art and that would not have been possible with-
combining his role of creative director with out their kind and enthusiastic participation. To
that of copy editor, illustrator, researcher, and art Renaldo Barnette and George Gozum, a special
director. I can’t imagine this book without his thanks for their steadfast support.
input. A posthumous thank you to Eric Bentley,
I’d also like to thank Mary Capozzi, my mentor and friend, for helping me to become a
not-so-secret managing editor. She was responsi- writer. He envisioned this book decades before
ble for bringing this book to completion. it happened.
Thanks to Karen Trivette and April Calahan And never last, nor least: thanks to my
at the Fashion Institute of Technology’s Special husband, Tim Stauffer, whose steady support,
Collections, Gladys Marcus Library and Good- good humor, and infinite patience allowed me to
man Resource Center, for their expert help and complete this book.
generous assistance.

Figure 0.1 Francisco J. Cortes.

ix
 ­P REFACE

I­’ve been drawing all my life. My earliest That menswear fashion illustration has
memory of making art was an uncommissioned received less attention than women’s fashion
crayon mural on my mother’s kitchen wall. The illustration is not too surprising. Until fifty years
review was emphatically negative. But despite ago, men’s fashion was considered not only less
that unpromising beginning, I later went to an interesting, but also slightly irrelevant. Fashion has
art high school, and then to an art college. Over always been considered feminine, frivolous, and
the years, as a commercial artist and designer, I’ve vaguely artistic, traits that were the opposite of
created fashion illustrations for department stores, the masculine ideal. If there were no such thing
magazines, book publishers, fashion designers, as men’s fashion, then men’s fashion illustration
and advertising agencies. I also teach. couldn’t exist. Thankfully, however, men’s fashion
Teaching, like drawing, is a form of commu- and men’s fashion art does exist, and always has in
nication, and in many ways this book is an some form—and certainly now more than ever.
extension of my classes. Most people are terri- The proof is in the spending. Worldwide revenue
fied of drawing, and my aim, as an instructor, has from menswear reached an estimated $154 billion
always been to demystify the process of drawing: from 2020 to 2024. Menswear is big business, so it
to show that if I can do it, then the student could follows that designing menswear and illustrating
do it, too. As a faculty member at the Fashion menswear are important aspects of the business.
Institute of Technology and having taught at And both have everything to do with drawing.
Parsons School of Design and Moore College of Everyone at some point in their childhood
Art, my approach to menswear illustration, not has drawn something. This appears to happen in
surprisingly, is a distillation of my experiences as all cultures at roughly the same time in a child’s
an artist and a teacher. My goal as an instructor development and seems to be an important part
has always been to help the student better express of human maturation. At an early stage, when
themselves. This means refining and polishing we’re drawing, we are seeing and holding images,
whatever skill or creativity the burgeoning illus- and transforming the images into symbols. If you
trator or designer already has. asked a five-year-old to draw their house, they

x
would draw a square with a triangle on top and methods, garment drawing, poses, and how they
a vertical rectangle as a chimney, even if they relate to a garment, and the various media—
lived in an apartment. The child is drawing what markers, watercolor, color pencil, etc.—used
they know, as opposed to what they see. Their in rendering the clothed figure. Topics such as
visual vocabulary is too limited for anything too individual style and the changing views of men’s
specific, hence the symbols. Many beginning art fashion are examined. Digital rendering of the
students have trouble going beyond this stage. figure is also discussed.The intention of the book
They cannot draw representationally: They need is to be both a textbook and a reference source.
guidance. Drawing isn’t something that can be In short, Illustrated Men will be, I hope, the equiv-
learned quickly, and being self-taught has its own alent of a year in a men’s fashion art class. It is also
limitations. That is why there are schools, classes, my hope that this book will help any artist or
and, yes, books.We learn to draw by drawing, but designer to create the type of menswear art that
also by instruction. truly reflects their aims and wishes.
The primary goal of this book is the draw- A Final Note: Please be aware that I have used
ing and rendering of the male fashion figure, American terminology throughout the book. For
so drawing fundamentals such as anatomy and example, sneakers instead of trainers; sweaters instead
proportion are stressed during the first third of of jumpers; suspenders instead of braces; turtlenecks
the book. Later chapters will focus on working instead of polo necks; and vests instead of waistcoats.

­Prefac  xi
 Introduction
T­ he Fashionable Male: A BEAU BRUMMELL (1778–1840)
Brief History in Four Figures Throughout history, men were supposed to wear
clothes that underscored the current society’s idea
Style and fashion are not the same thing. If fash-
of masculinity, and for the most part that meant
ion is what is currently regarded as “in style,”
being seen as strong, resolute, and in control. In
then personal style is the way in which one
a word, manly. So, it is no wonder that military
wears one’s clothes. It is the way in which we
garb was such a potent source of inspiration for
express our individuality. Clothes are rarely just
menswear throughout Western history. Particu-
garments, but often signifiers of our identity or,
larly for those in power, clothes were meant to
more precisely, how we wish to be perceived.
convey unquestioned authority, and since most
This is reflected in the adage “Clothes make the
societies were hierarchical—the king and queen,
man.” All through history a man’s clothes have
then dukes, then lords, etc.—good taste was
reflected his class, nationality, taste, and poli-
upper class, and bad taste was lower class. Men’s
tics. We can see a society’s idea of what a man
clothing was often dictated according to one’s
should be, and how men did or did not conform
social rank and privilege.
to this idea, reflected in past and contemporary
In late 18th-century France and England, it
images. Nowhere is this more obvious than in
was only with the rise of the middle class that
the changing look of menswear. In this chapter
the social ambitions of the upwardly mobile
I will briefly explore the sartorial evolution of
changed: Men no longer dressed according to
menswear through several men of fashion, from
their social rank, as custom had long dictated, but
the 18th century’s Beau Brummell to the late
rather according to the rank they aspired to. In
20th-century Sean “Puffy” Combs.
this era, men’s fashion became more practical and
less extravagant. This move to more restrained
Figure I.1 Portrait of George ‘Beau’ Brummell
(1778-1849) by Robert Dighton. Bridgeman Images.

1
and sober clothing reflected not only the spirit of Wales (the Prince Regent and later King George
the democratic aims of the French and American IV) that helped to widely spread his influence in
Revolutions, but also the values, and the grow- England and France.
ing power, of the new, industrious, and religious The few existing portraits of Brummell
bourgeoisie. And yet, there were contradictions. don’t depict him as being overly attractive—
If male dress was often dark and austere—black Brummell’s nickname, Beau, was for his style of
was the dominant color for men’s clothing in the dress, not his physical beauty—yet his appeal was
19th century—there were still men who wanted magnetic. His usual daytime outfit consisted of
to shine in a big way, and so the Dandy was born. a dark blue frock coat, a fawn-colored chamois
Dandies were non-conformists who rejected vest, light-colored trousers or breeches of suede,
bourgeois values. They were devoted solely to and soft Hessian boots—polished, allegedly, with
their own aesthetic independence. As Thomas champagne! In the evening he wore a blue suit
Carlyle wrote, “A Dandy is a clothes-wearing with matching buttons, white vest, tight pants
Man, a Man whose trade, office and existence buttoned at the instep, and silk stockings with
consists in the wearing of clothes.” Fashion, and matching pumps.To our modern eyes his clothes
how one appeared, was their only interest. They seem anything but dramatic, but Brummell’s
had the seemingly carefree and lazy lifestyle of dress was a radical break from the then popu-
the poor Bohemians, but with inherited money. lar continental style of French and Italian men.
They weren’t aristocrats, even as they emulated They wore powdered wigs, make-up, buckled
them; Dandies affected a conspicuous frivolity. At shoes, perfume, and elaborately embroidered
best, they made a religion out of aesthetics; at colored silks and satins—all part of most Euro-
worst, they squandered fortunes doing nothing in pean court fashions. By comparison, Brummell’s
particular. But they did it with style; and London, relatively austere and simple dress was revo-
where European men interested in fashion took lutionary. His contribution to modern male
their cues, was their capital. dressing was in taking the practical clothing of a
If English fashion influenced all of Europe, military officer—coat, waistcoat, and breeches—
then Beau Brummell was Europe’s first male and simplifying it for civilian use.
trendsetter, and its first Dandy of consequence. By 1816, Brummell was a changed man. He
George Bryan Brummell (1778–1840) was a had fallen from grace with the Prince Regent
commoner who personified a type of male after a rude remark and, because of gambling,
elegance that was unmistakably different from was heavily in debt. He fled his creditors and
the aristocrats’. Living on a sizable inheritance, the prince by escaping to France. There he lived
he was said to have had three hairdressers, several the remainder of his life in grueling poverty, a
glove makers, and the most expensive and exclu- steep fall from the exalted existence he had lived
sive tailors in London. He refused to wear jewelry earlier, finally dying in an asylum in 1840.
or perfume and was obsessed with cleanliness. Beau Brummell is credited with establishing
The pristine way he wore his starched white a dress code that had nothing to do with class
linen shirts and cravats was the stuff of legend. or social rank. His simpler style of a fitted plain
However, it was Brummell’s friendship with, and dark coat, pristine white shirt, and cravat soon
his role as adviser to the court of, the Prince of became the basis for the modern-day suit and

Illustrated Men  2
tie. He gave men across all social classes a type of Edward Albert Christian George Andrew
male elegance distinct from the courtly restric- Patrick David (1894–1972) was the great grand-
tions of the aristocracy. His dress code would son of Queen Victoria, and heir to the British
soon evolve into a more egalitarian expression throne. At one time he was known as the Prince
of what constituted a fashionable male. And of Wales; following the death of his father,
his style of sartorial restraint and disciplined George V, in 1936, he became Edward VIII. He
modesty became an archetype of the modern later abdicated the throne to marry Wallis Simp-
gentleman. son, an American divorcée; the ex-king then
became the Duke of Windsor. The complex and
controversial life of the duke is beyond the scope
EDWARD VIII, FORMER KING OF
of this brief history—we are only interested in
ENGLAND
his contribution to male fashion, and in that
But what does “modern” mean? For many in the there is little to dispute.
1920s, the modern world was born at the end From a young age, the prince was reared
of the First World War. To be modern, then, was in a buttoned-up childhood. His father was a
to reject anything of the Victorian Era, and this conservative monarch who belonged, unapolo-
naturally included clothing. While the mature, getically, to the late 19th century; the old king
British, pre-First World War generation returned believed in detailed codes of behavior, and an
to their stiff and conservative Savile Row suits, adherence to a strict hierarchy. Not surprisingly,
the younger, post-war generation wanted some-
thing different, something that reflected the ease
and comfort they associated with modernity.The
young students back then preferred the Oxford
and Cambridge style of baggy flannels (28-inch
bottoms!), Fair Isle sweater vests, and soft-­collared
shirts. They rejected the Victorian principle of
rigidly dressing for a specific time of day; but they
were hardly anarchists.They were still very much
a part of the English gentry, so their character
was shaped by their membership in a class whose
members all spoke the same slang and went to
the same universities, clubs, and tailors. While
this was a world of strict hierarchy, with detailed
codes of behavior, there was still some room for
self-expression, and this pushing of boundaries,
along with an innate conservatism, was just the
sort of environment that bred rebellion. It was
out of this background, and his reaction to it, that
the Prince of Wales emerged as a fashion icon of
Figure I.2 The Duke of Windsor © SZ Photo / Scherl
the 1920s and beyond. / Bridgeman Images.

Introduction  3
the young prince rebelled against these social
restrictions. His acts of rebellion included going
against custom when it came to dress; like many
of his age group, he hated what he perceived as
the rigid formal dress of his father’s generation.
He loathed ceremonial dress.
In his private life the prince began to dress for
comfort and ease, wearing roomy jackets with
unpadded shoulders and pockets, wide pants, soft
collars, sweater vests, and belts instead of suspend-
ers. He was one of the first men in the 1930s to
wear an unlined, unconstructed jacket; in public
he wore berets and scarves. His signature silhou-
ette was the drape cut, a softly constructed jacket
paired with a voluminous chest area, a natural Figure I.3 The Duke of Windsor, Bridgeman Images.

shoulder, and a high-cut, waisted, pleated trou-

ser. Unafraid of censure, he wore unconventional was viewed as the first word in male fashion. But
patterns, loud checked tweeds, plaids, checks, and it wasn’t until he made his trip to the United
stripes—vivid examples of his taste. If the mixing States, in 1924, that he became a media star and
of unusual colors or patterns occasionally made fashion icon.
some people shudder, well, royalty has its privi- After the First World War, the United States
leges. In 1933, the prince wore a double-breasted became a world power and industrial leader and,
jacket in a houndstooth fabric, then a material with its sizable and relatively affluent population,
usually found in casual single-breasted jackets. the most influential nation. However, despite
He abandoned jewelry, vests, and hats (other America’s clout, British supremacy in menswear
than the aforementioned beret and an occasional remained unchallenged: Savile Row’s bespoke
bowler). He favored unstarched shirt cuffs for suits still represented the pinnacle of male style.
evening wear, and tab collars for formal wear. He During his visit, the Prince of Wales was viewed
also insisted on not wearing gloves while danc- as not only an ambassador of British fashion, but
ing. These sartorial choices were examples of an also an example of the new modern man. He
escape from royal restraint. While the prince was became the first male celebrity to sell clothes,
by no means a radical—in fact, given his posi- as in “worn by the Prince of Wales.” One did
tion, one could hardly expect him to be anything not need to be an Anglophile to be impressed.
other than conservative—he was able to add a Young Americans could relate to his easy-­going
personal, even eccentric touch to his wardrobe style and his image of comfort and ease. For
that, when coupled with the aura of privilege, many, the Duke of Windsor became an arche-
tradition, and innovation, gave his appearance type of the modern gentleman. No wonder,
a lively, idiosyncratic undertone that the public then, that the prince’s particular brand of casual
viewed as modern. As a result, the prince seemed ­stylishness became a major influence on American
a more accessible royal, and his official wardrobe men in the 1930s, and for several decades after-

Illustrated Men  4
wards. His unique brand of male elegance, made no group had a stronger effect on male fashion
more attractive by coming from British tradition, than the Beatles.They were not fashion designers
was soon reflected in the look of any man with a or models. Nor were they movie stars, at least
claim to fashion. Hollywood icons such as Cary not primarily, but their impact on men’s fash-
Grant and Fred Astaire, and even artists such as ion was seismic. For men of a certain age, they
W. Somerset Maugham and Jean Cocteau, were were unimpeachable role models. They not only
all influenced by the Prince of Wales cult.We can revolutionized popular music; they helped to
still see the British upper-class look today, in the expand the ways in which a man could choose to
imagery and clothes of long-established compa- appear. As their images as counter-culture deities
nies such as Brooks Brothers, J. Press, Turnbull evolved over the decade, they began to not only
& Asser, Aquascutum, and Ralph Lauren, and influence but also mirror the shifting nature of
on the students at certain American universities. men’s fashion, politics, and presentation that was
Although the Duke of Windsor might well have occurring in their young audiences.
blanched at being described as “preppy,” his once The most popular and influential rock band
radical style of dress has become “classic,” the sort of the 20th century was formed in 1960; the
of look we expect from captains of industry, poli- members were John Lennon (1940–80), Paul
ticians, and certain conservative men of style. McCartney (1942–), George Harrison (1943–
2001), and Ringo Starr (1940–). All the Beatles
were born in Liverpool, an industrial shipping
THE BEATLES
port in North England, and all came from
When we think of iconic men of style, we tend working-class families. McCartney met John
­
to think of individuals: people who, through Lennon (and Stuart Sutcliffe), then known as
dint of charisma and taste, change the way we the Quarrymen, in 1957, at the age of fifteen.
think about clothes and how to wear them. It is George Harrison joined a year later, and Ringo
rare that a group can project any message other was added after they dismissed their original
than uniformity. But there are exceptions, and drummer. In the beginning they were what we
within the context of menswear in the 1960s, would describe, today, as a garage band: a group of
teenagers who, in their spare time and away from
school, got together to make music. Their early
look consisted of greasy pompadours, leather
jackets, stovepipe jeans, and boots. The style
was suggestive of motorcycles, rock ‘n’ roll, and
rough bad boys. This was not only an homage
to their heroes, Elvis Presley and Gene Vincent,
but also a sartorial declaration of their teenage
non-­conformity. This would change once Brian
Epstein (1934–67) became their manager.
It was Epstein who suggested that they might
be more successful if they looked more profes-
Figure I.4 The Beatles, Bridgeman Images. sional, which in England, at the time, meant well

Introduction  5
groomed. The Beatles’ iconic presentation in but now these were paired with sports jackets
1962 of matching collarless suits, Chelsea boots, and T-shirts. One might describe the look as
and mop-top hair became a “look” that managed “preppy beatnik”: a collegiate look, but with
to convey both polish and a certain rebelliousness. an edge. The group look was slowly developing
The gray suits—piped in black and worn with into a collection of subtle individual styles. In
thin black ties—were designed by London tailor fact, it was a look that could be described as
Dougie Millings and inspired by Pierre Cardin’s transitional.
1960 menswear designs; Cardin was one of the For most of the 20th century, men’s fashion
first designers of menswear to emerge during had moved at a glacial pace. Men bought suits
the late 1950s and early 1960s. This minimalist off-the-rack, or, if they had the means, acquired
look would epitomize the “Mod” style of early a bespoke suit from a tailor. Until the late 1950s,
British fashion—Mod being short for Modern— menswear designers simply didn’t exist. Changes
and was a response to wider trends in fashion, in men’s design from the late 1920s to the 1950s
art, and graphic design. Mod fashion represented were more about the shoulder-width of a jacket,
the aspirations of young working-class men and or the drape of a pant, than a r­evolutionary
women who patterned themselves after modern new look; for example, the 1940s’ only major
jazz (Miles Davis, Dave Brubeck, Modern Jazz contribution to menswear was synthetic fabrics.
Quartet, etc.), beatniks, and the Left Bank intel- But 1966 proved to be an exception. By the
lectuals in Paris, French-style Mods known as mid-1960s, London in general, and Carnaby
minets, or “trendies.” For young men growing up Street in particular, seemed to pulse with youth-
in Britain after the Second World War, the need ful energy and excitement. There was a new
to escape the post-war grayness and depravations attitude in male dress, one in which bold color,
of the country motivated many to look abroad to improvisation, and androgyny reigned. ­Menswear
French and American popular culture for inspira- influencers like retailer John Stephen and Michael
tion. Viewed in that context, the Beatles’ clothes Fish, a designer for Turnbull & Asser, began to
from 1962 to 1964 were both a nod to British reference 18th-century dandyism and experi-
tailoring and a touch of the Gallic avant-garde. ment with brightly colored suits, paisley ties, and
After their initial phenomenal success, the scarves. Consciousness-expanding drugs such as
Beatles entered a period of what might be LSD, popularized by Timothy Leary, played a part
termed introspection. They were superstars, in the look of this current image. The so-called
and that success inevitably brought more self-­ “Peacock Revolution” can be seen in the acid-
confidence and a greater need for autonomy. If soaked imagery of the Beatles’ album cover for
the earlier clothes were a nod to group cohe- Sgt. Pepper’s Lonely Hearts Club Band (1967), and
sion and a recognition of the need to conform in their animated film, Yellow Submarine. Gone
to established showbiz norms, their clothes were the dull, dark, conventional clothes of the
now reflected maturity and individuality. This older generation; now the idea was to play with
period from 1964 to 1966, best exemplified by unconventional ideas of class and gender roles,
the Rubber Soul album cover, saw them wearing to explore color and texture. On the cover of
brown suede jackets, turtlenecks, and brighter Sgt. Pepper’s, the Beatles are dressed in vintage
colors and patterns. They wore casual jeans, regimental uniforms, but the colors are bright

Illustrated Men  6
and saturated. Ringo’s jacket is pink satin, John’s multitude of beads became symbols of a new
is lime green, Paul’s is sky blue, and George’s is counter-culture: Natural fabrics were preferable
scarlet. Their epaulets and frogs (frogs, or frog- to synthetics, flea markets were preferred over
gings, are decorative cords or braids with intricate department stores. Soon the popularity of frayed
knots and loops) are bright gold and silver, and and patched jeans became an implicit criticism
their military braids are pink, sunflower yellow, of mid-century American consumerism and a
and baby blue. John has a daisy on his right personal expression of individuality. All of this is
shoulder, along with various colorful medals. visible on the album covers of the White Album,
Everyone’s hair is longer and shaggier, and all are Abbey Road, and Let It Be, and in the numerous
wearing mustaches. The background photograph photos of the Beatles from 1968 to 1970. Clad
is a startling neon canary yellow. Here, and in in T-shirts, bell-bottoms, vests, silk shirts, hats,
photos of the group outside of the studio, the and fur coats, their clothes during this period
usual clichés of masculinity were abandoned in reflected both the current state of popular culture
favor of adopting stereotypical “feminine” colors and what had happened to the band. After ten
for their wardrobe and sporting long hair. There years, the Beatles were no longer a coordinated
was a defiant casualness with which this androg- band, but a group of unique individuals, each
yny was maintained: snug-fitting, low-waist dressing to please himself.
trousers (also known as hip huggers) were worn, The Beatles disbanded in 1969 (though
along with brightly colored shirts in pink, yellow, this was not officially announced until 1970).
and lilac. Fitted Edwardian and Nehru jack- Although the four members all had varying
ets in plush velvets, vibrant satins, and brocades degrees of solo success, it is as a group that they
were all the rage, and suddenly, jewelry for men exist as unique and dynamic images of the 1960s.
became fashionable: rings, medallions, beads, and Like all potent cultural icons, they represented an
bangles. Lennon, who earlier refused to wear idealized image of who we thought we were, or
glasses when he was photographed, now wore what we thought we could be.
them unashamedly. The Beatles were now camp The 1970s saw the birth of the celebrity
and psychedelic icons. This new and extravagant menswear designer. Pierre Cardin might have
sartorial freedom suggested a youthful hedonism been the first, in 1959, but he was soon followed
that would slowly and stealthily be transformed in the UK by menswear designers like Hardy
into the last fashion stage of the late 1960s: the Amies and Tommy Nutter. Amies represented
hippie. the establishment with his reliably elegant Savile
The hippie, with his long hair, flowered shirt, Row suits, while Nutter made his impact with
and bell-bottomed jeans, remains as much a celebrity rock stars like Mick Jagger and David
cultural stereotype as the gin-guzzling flappers of Bowie. While both designers were wildly influ-
the 1920s. The look, which began in the United ential, their commercial impact was limited:
States in Haight-Ashbury, San Francisco, came Neither was able to extend his commercial reach
out of the social movements of the time—the beyond the UK (though Tommy Nutter contin-
civil rights and anti-Vietnam War movements— ued his menswear influence by later mentoring
and the beatnik tradition of non-conformism. Ozwald Boateng). It would not be until the next
Silk scarves, shaggy Afghan coats, sandals, and a decade that menswear powerhouses like Giorgio

Introduction  7
 that not only dazzled but also provoked: Think
of David Bowie, Elton John, Prince, or Michael
Jackson. Such savvy entertainers developed an
acute awareness of the power of clothing. They
grasped the idea that clothes could convey more
than just glamour or fantasy, but also shifting
ideas of sexuality, ethnicity, class, and politics. For
artists whose work was meant to provoke and
challenge, clothes helped to illustrate a particular
point of view. Nowhere was this more obvious
than in the rap and hip-hop artists of the late
20th century.
Hip-hop began as the music of the marginal-
ized. It was born in the American urban ghettos
of poor and working-class black youth who grew
up amid hardship and crime. Like the 1970s
punk scene in the UK, it was protest music by
the angry and disillusioned. Early rap perform-
ers wore the same streetwear that their audiences
wore: tracksuits, baggy jeans, hooded sweatshirts,
Timberland boots, and baseball caps—sportswear
Figure I.6 Sean “Diddy” Combs attends the 2022 Billboard
Music Awards. Photo by Mindy Small/FilmMagic courtesy that was durable and affordable. As hip-hop artists
of Getty Images. became more successful, they began to wear the
same clothing, but with luxury brand logos that
Armani, Hugo Boss, and Ralph Lauren would signaled status. This had the effect of calling
dominate the male fashion world. attention to their new-found wealth, while also
raising a middle finger to an ambivalent, if not
hostile, white establishment. However, ­whatever
S­ EAN JOHN COMBS, AKA PUFF
love early rappers might have had for these
DADDY
brands, it was rarely, if ever, reciprocated. Soon,
By the 1980s, performers, musicians, singers, and many black artists were made to feel unwelcome
actors were the ultimate fashion role models, in certain high-end designer stores. Not surpris-
and through the power and reach of modern ingly, this created a certain tension. The more
media—their movies, television, records, and inaccessible the luxury brands, the more desir-
radio—they had a potential audience of tens able they became. Eventually, entrepreneurial
of millions. With this new ability to command tailors like Dapper Dan (Daniel R. Day) began to
almost universal attention, performers became illegally use these same logos, printing them on
more adept at creating outsized public personas fabrics that would then be made into one-of-a-
kind pieces for black celebrities and performers.
Figure I.5 Men’s fashion through the ages (1910-2010). Dan’s dazzling creations combined name-brand

Introduction  9
cachet with streetwise black pride. These clothes
not only symbolized black creativity and black
style; they also became compelling statements of
economic power and self-realization. Of course,
once rap music became popular to wider white
audiences, it was inevitable that the clothing
style of black hip-hop artists would be co-opted
and mass-produced. By the mid-1990s Tommy
Hilfiger, Ralph Lauren, and others began to
market the same baggy jeans and leather jack-
ets that many viewed as suspect just a few years
before. Response to this marketing gave rise to
Sean “Puffy” Combs and the emergence of a
hip-hop aesthetic in menswear.
Sean John Combs (1969–), also known as Puff
Daddy, P. Diddy, Puffy, or Diddy—all variations
on a childhood nickname—was born in New
York City but raised in Mount Vernon, New
York. He attended Howard University, major- Figure I.7 Sean “Diddy” Combs. Photo by Ethan
ing in business, with the intention of becoming Miller/Getty Images.
both a performer and an entrepreneur. He later
dropped out of Howard to become Uptown
Record’s chief talent scout. In 1993 Combs left
Uptown Records and started Bad Boy Enter- designers, his clothes reflected both who he was,
tainment. The ensuing years showcased him as and who he aspired to be. His eponymous line
a spectacularly successful rapper, singer, song- was a mash-up of urban swagger and Las Vegas
writer, record producer, actor, and, last but not panache, but with activist undertones. Coming
least, menswear designer. In 1998 he created down the runway of Combs’s first show were
Sean John, his menswear clothing line. Inspired luxurious fur coats worn over oversized sleeve-
by Tommy Hilfiger and Ralph Lauren (going so less T-shirts and track pants, bucket hats worn
far as to hire executive Jeffrey Tweedy away from with gold medallions and leather pants, baseball
Lauren), along with his love of streetwear, he caps and cashmere hoodies over cropped pants
created a menswear line that helped to integrate and sneakers, and all worn by young black and
hip-hop style into the broader fashion world. brown models. This imaginative combination of
Sean John was certainly not the first clothing high and low reflected both the casualization
line to reflect a hip-hop or black sensibility, of modern menswear and the multiculturalism
but it was the first to combine an extravagant of the new millennials.
hip-hop aesthetic with a mass-market approach. Through Combs, and others like Phat Farm,
Combs didn’t go to design school, but he was FUBU, and Roc-a-Wear, hip-hop fashion
certainly a student of fashion, and like many was responsible for the elevation of streetwear.

Illustrated Men  10
Combs contributed to a way of dressing that success was needed, in 2018 Sean John Combs
is recognizable as early 21st-century menswear was reported to be the second richest hip-hop
just as top hats and tuxedos represented the ideal artist in America, with an estimated wealth of US
man of the 1920s. Combs was first nominated $825 million.
for a Council of Fashion Designers of America From Beau Brummell’s influential modern-
(CFDA) award in 2000, finally winning the award ization of 18th-century dress to Sean Combs’s
in 2004.Today, he has eschewed the lavish fabrics celebration and mass-marketing of the hip-hop
and furs of the early 2000s for mass-produced or urban aesthetic, each of the men discussed
clothing for a younger generation. His more here has contributed to the way men dress today.
affordable line consists of sportswear staples for We have seen how the evolving definition of
the ­average young man: polo shirts, jeans, b­ aseball masculinity and the societal influences of class,
caps, watches, footwear, fragrance, and suits. politics, gender, and ethnicity are made manifest
Like many designers before him, he co-opted in the clothing of men throughout history. A host
a counter-culture aesthetic, dressed it up, mass-­ of men, not limited to Western Europe or those
produced it, and resold it to the masses: all with a examined here, have challenged, reinvented,
heavy dose of race pride. Combs’s achievements and reinterpreted menswear and, by extension,
made the space available to black designers, from contributed to what a fashionable modern man
Kanye West and Pharrell Williams to Virgil Abloh looks like today.
and Olivier Rousteing. As if further proof of his

Introduction  11
 Men’s Fashion Illustration:
­1
An Overview

F
ashion illustration as a profession was d­ rawings were usually for tailors or dressmakers
born out of necessity. While cameras and to help explain the turn of a collar or the fitting
the photographic process had improved of a sleeve; the idea of using these technical aids
during the 19th century, by 1900 it was to express a mood or a style would never have
still difficult to photograph subjects in color, and occurred to anyone. Nevertheless, images of
even more problematic to print and reproduce fashionable men are hardly new.
them; replicating the black lines and flat colors Though historians trace the general public’s
of fashion drawings was less complicated (full interest in men’s fashion at least as far back as
color reproduction would not be possible until the 16th century, earlier depictions of men’s fash-
the early 1930s). Without the demands of adver- ions can be found in the paintings, sculptures,
tising, and the limitations of photography, fashion and manuscripts of military heroes and assorted
illustration might never have flourished. nobility. The great and the good—and the not
Artists have been drawing and painting so good—have always wanted to be remembered
beautiful people in beautiful clothes since the for posterity, and since not everyone can build
beginning of time, but fashion illustration as a pyramid, a portrait has often been used as a
a distinct career in general, and men’s fash- sensible alternative. Often, these idealized images
ion illustration in particular, is a comparatively seemed more focused on clothes and accesso-
new phenomenon. The earliest forms of fash- ries as markers of rank and privilege than an
ion ­ illustration were utilitarian. These simple exact likeness of the sitter. A typical portrait, or
bust, was intended to invoke veneration or awe;
Figure 1.1 GQ, 1984/Antonio. The Estate & Archives of fashion trends seemed beside the point. Joshua
Antonio Lopez and Juan Ramos.

13
 and discreet flattery of Reynolds than anything
resembling reality. But it is a delightful portrait of
an aristocrat and, one could argue, a kind of fash-
ion illustration. Which begs the question: Who
needs fashion when you are above it? For much
of human history, images of royalty and the aris-
tocracy suggested they were both in and beyond
fashion. It is only with the invention of the print-
ing press that this assumption began to change.
Johannes Gutenberg’s movable printing
press in 1454 was the technological shift that
made the first printed fashion illustrations
possible. Because of this invention, and the
further development of engraving techniques,
cheap and affordable illustrated costume books
became available throughout Europe, known in
German as Trachtenbucher.These black-and-white
pamphlets functioned as sartorial travel guides,
showing how different cultures dressed and
adorned themselves. People’s natural curiosity
made the engravings popular, and the exchange
of different ideas about dress—who wore what
and when and why—began to influence how
Figure 1.2 Richard Peers Symons by Joshua Reynolds, people saw themselves. It was only a matter of
1770–1. © Cincinnati Art Museum / Museum Purchase / time before someone made a journal specifically
Bridgeman Images. about fashion.
In 1672, the very first fashion magazine for
Reynolds’s portrait of Richard Peers Symons, men and women was published in France. Titled
MP (later a baronet) is a perfect example. Le Mercure galant (The Gallant Mercury), it was
Mr. Symons was twenty-five at the time of published by Jean Donneau de Visé. The jour-
this painting, yet he looks older, not in age, but nal reported on not only fashion trends using
in manner. There is, in his pose, natural nobility. engraved fashion illustrations, but also intellectual
He is dressed in a dove-gray suit of satin trimmed and artistic debates, marriage announcements,
in silver brocade, and while he is undoubtedly life in court, poems, songs, gossip, and news, as
fashionable, he is not a Dandy. The classical back- well as providing art and theater reviews. It was
ground, the Farnese Hercules and the Roman so successful that Louis XIV decreed that it be
Temple, the adoring hound—all suggest a published monthly. Publication ended in 1674,
cultured and sophisticated world traveler but it later became a monthly under the name
comfortable with his exalted place in the world. Nouveau Mercure galant. While the magazine
To be sure, this has more to do with the talent played a significant role in disseminating French

Illustrated Men  14
fashion among the elite, its impact among the and coats, hinting at the fashions to come. The
general public was minimal; costume books journal ended in 1804, just before Napoleon
were still more widely read. It wasn’t until the became emperor, but was later revived in 1912.
mid-18th century, when the new hand-colored It was during the Industrial Revolution, in
fashion plates arrived, that costume books the middle of the nineteenth century, that tech-
suddenly became less desirable. nological advances helped to create an audience
Fashion plates, unlike the old costume books, for fashion illustration. A growing literate middle
highlighted the latest style. These were the fore- class with more purchasing power and the mass
runners of contemporary fashion illustration and production of manufactured goods all led to the
fashion design sketches. Fashion plates, typically development of mass media. Businesses, includ-
depicting a clothed figure, drawn and engraved ing fashion houses and clothing manufacturers,
and later hand-colored, offered visual cues as to responded with advertising. Newspapers, posters,
which fabric, accessory, or color was currently pamphlets, and illustrated newspapers all competed
in vogue. Seen not only by consumers, but also for readership and advertising dollars. Gradually,
by tailors and merchants, they became indispen- promoting a product or garment through an adver-
sable to anyone interested in fashion. They were tisement became an important selling tool, and new
so popular that they were not only included in visual aids—the rotary printing press, photogra-
pamphlets and books—and that new invention, phy, illustration, and design sketches—became
the magazine—but also continued as an art central to the dissemination of fashion art. Quite
form until the use of photography in the early a few men’s fashion illustrations at this time were
20th century. Still, a magazine devoted solely of a high caliber, but many others were stiff and
to men’s fashion wouldn’t arrive for another more than a little lifeless. This was because of the
fifty years. need to accurately convey the details of a garment,
The first popular English men’s publication its construction, the texture of fabric, number of
was The Gentleman’s Magazine. Published in 1731 buttons, etc.These illustrations were functional and
by Edward Cave, it contained essays, poems, meant to be informative rather than expressive;
fiction, and politics, but no fashion or illustrations. this may have been due to the way fashion plates
It did, however, give us a new word: “magazine.” were made.
Cave invented the word, supposedly derived from Creating a fashion plate during this period was
the Arabic word makhazin, meaning storehouse; it a lot like creating a contemporary fashion illustra-
slipped into common usage thereafter. tion. An artist would first draw the clothed figure
However, it was the Journal des Dames et des in pencil, often in some sort of environment—a
Modes, a French fashion pamphlet created in 1797, garden or some interior; then, the engraver, who
that finally included fashion art, occasionally show- might be the artist, would engrave the drawing
casing men along with women’s fashion illustration. on a metal plate with sharp etching tools. Inks
The journal signaled a new way of dressing.Taking would be applied to the plate, a paper would be
its cue from the egalitarian spirit of the revolution, placed on top, and then a roller would be pressed
it rejected the former regime’s rules for dressing and the drawing would be transferred to the
that signaled one’s social rank. Lavish embroidery, paper. Once the paper was dry, an assembly line—
powdered wigs, extravagant lace, and colorful silk usually women—would hand paint the engraving
were gone; now men wore somber, tailored suits with watercolor or ink. Each person would be

Men’s Fashion Illustration: An Overview  15

 Figure 1.4 Leon Bonnette, Fashionable men in black, 1919.
Science History Images / Alamy Stock Photo.

Figure 1.3 Men’s fashions, 1896, Library of Congress.

Lucien Vogel as directeur, the expensive and
r­esponsible for applying one color; it was a team exclusive journal combined the gossip of French
effort. Sometimes, even a particular rendering high society with serious essays about fashion,
would be parceled out: One artist might special- art, and politics. It also introduced, through its
ize in heads, another in backgrounds, and another beautifully illustrated pages, artists who would
artist might only focus on fabric details like tweed become famous just ten years later: artists such
or plaids. Viewed this way, it is understandable as Bernard Boutet de Monvel, Georges Lepape,
why men’s fashion art of this period was so rigid Charles Martin, André Marty, Paul Iribe, Benito,
and uninspiring. There was little individuality. Pierre Brissaud, and, in particular, George
While there were several magazines for men Barbier. Unlike the teams of anonymous tech-
during this period with titles like Man About Town, nicians who had created fashion illustrations
Gentleman’s Pictorial, and Country Gentleman, most just fifty years earlier, these illustrators were
of these closed in 1914 at the beginning of the allowed to complete an illustration from begin-
First World War. ning to end. By the 1920s they would not only
It was the birth of Gazette du Bon Ton in 1912 be inspired by the post-war years of fast cars,
that signaled the beginning of men’s fashion nightclubs, and flying machines, but also by the
illustration as a genuine cultural force. Published explosion of new fine art: the work of Matisse
by the Librairie Centrale des Beaux-Arts, with and his group of Fauves, or “Wild Beasts,” the

Illustrated Men  16
arrival of the Ballets Russes and the daring and James ­ Montgomery Flagg, the German illus-
innovative work of Léon Bakst, the influential trator Ernst Dryden, and Norman Rockwell.
exhibition of Japanese prints in the late 1880s, But only one illustrator seemed to successfully
and, of course, Picasso’s exploration of Cubism. corner the market on men’s fashion illustration:
The resulting effect was expressive and idio- Joseph Christian Leyendecker.
syncratic works of art. While not every seam J. C. Leyendecker (1874–1951) was one of
or button was documented, the overall impact America’s most popular illustrators in the early
was somehow stronger. It was during these early decades of the 20th century. His advertising art
decades of the 20th century that fashion illus- for menswear companies like Arrow Collar—a
tration became a profession. These artists—all brand of detachable shirt collars—The House
trained at the great Parisian art school, the École of Kuppenheimer, Hart Schaffner Marx, and
des Beaux-Arts—helped to define what we now Interwoven Socks had an enormous impact
call Art Deco and helped lay the groundwork on the public. In fact, it is difficult to imagine
for what became the Golden Age of Fashion today the type of success Leyendecker had in
Illustration, after the First World War. the early 1900s. Just as Charles Dana Gibson had
originated the prototype of the beautiful and
elegant American “Gibson Girl,” Leyendecker
The Golden Age of Men’s recreated the Dandy as a smartly dressed young
Fashion Illustration: 1919–39 American. With his gleaming, brushed back hair,
prominent chin, and broad shoulders, he was a
The turn of the new century saw a flood of new virile but elegant gentleman. Such illustrations
lifestyle and fashion magazines, particularly in of handsome and beautifully dressed men had
the United States. By 1900, there were no fewer the same glamorous appeal then that Hollywood
than fifty US national fashion magazines, and stars such as Gary Cooper or Cary Grant would
these would, along with radio, provide adver- have later.
tisers with a means of mass communication. Born in Germany, but raised from the age
Magazines and illustrated newspapers were a of eight in Chicago, Leyendecker’s early art
cheap and easy form of entertainment. Adver- education was typical of young artists of the
tisers hired illustrators to sell their products, and late 19th century. At age sixteen, he apprenticed
publishers hired illustrators to boost their sales at an engraving house; after work, he attended
and increase advertising revenue with captivat- evening drawing classes. Later, with support
ing magazine covers. As the financial success from his working-class family, he and his brother
of illustrated magazines took off, the need Frank—also a talented artist—studied art at the
for commissioned artwork grew. This in turn Académie Julian in Paris. Leyendecker’s training
created competition among art directors and was what we would now describe as “classical.”
publishers for the limited number of exceptional He studied drawing from plaster casts and still
artists, and by the mid-1920s the list of well- life and made exact copies of classic paintings.
known American illustrators became a who’s Even as a student, he won renown as a master
who of iconic figures. A partial list includes draftsman. The brothers returned to the United
Charles Dana Gibson, John Held, Jr., Russell States in 1897 and soon embarked on successful
Patterson, C. Coles Phillips, Dean Cornwell, careers as illustrators.

Men’s Fashion Illustration: An Overview  17

Figure 1.5 J. C. Leyendecker, Kuppenheimer suits, 1920s. Image Courtesy of The Advertising Archives.

Illustrated Men  18
 By the early 1920s, Leyendecker’s Arrow Man Apparel Arts was created in 1931 as a men’s
illustrations were receiving fan mail—including fashion magazine for the clothing trade: design-
marriage proposals and gifts—by the thousands. ers, wholesale merchandisers, tailors, and retail
The Arrow Man became the subject of poems, sellers. Because it was primarily a fashion guide
songs, and even a Broadway play. And all of this for industry insiders, its publications, printed
was due to Leyendecker’s extraordinary talent. quarterly, were limited: Its purpose was as a
His men seemed to symbolize the sleekly deca- fashion forecast guide. Unlike the stylized illus-
dent Jazz Age sensibility of the 1930s, while trations of the early 1920s, menswear illustration
paradoxically still appearing wholesome and in the 1930s tended toward realism. Details such
all-American, despite the often subtle gay subtext. as the width of a lapel, or the drape of a pant,
Notwithstanding his superb fashion sense, were faithfully recorded to suggest the precise
Leyendecker was never just a fashion illustrator, construction of a garment. There were no mens-
and during the Depression, when he lost most of wear designers during this time, only tailors,
his fashion clients, he simply moved on to maga- so Apparel Arts’s aim was to show how certain
zine covers. His covers for The Post, Collier’s, and fabrics, tailoring, and silhouettes could be worn,
The Saturday Evening Post, to name a few, were and thus sold. But from the beginning it was very
seen by millions of readers and helped to make popular with retail customers, in large part due
him a small fortune. During his prolific profes- to its fashion illustrations—and one only has to
sional career, in addition to magazine covers, he look at the illustrations to see the lure.
painted book covers, advertisements, posters, and
magazine illustrations. No less an expert illustra-
tor than Norman Rockwell idolized him.
As one of the leading lights of America’s
Golden Age of Illustration, Leyendecker’s work
has seeped into our cultural memory. After
several decades in which he seemed forgotten,
he is enjoying a much-deserved rediscovery: His
work helped to capture and define a particular
type of fashionable man in the early years of the
20th century, and designers and illustrators have
returned to this for inspiration again and again.
Successful fashion magazines not only reflect
the times in which they exist but also fore-
cast what is to come. They create a visual diary,
recording the thoughts, desires, and imaginations
of a particular society at a given time.There were
several men’s magazines in the 1920s that did just
that, with a focus on fashion and illustrations:
Der Herr in Germany and Monsieur (1920–2) and
L’Homme Elégant in France, but in particular the
American magazine Apparel Arts. Figure 1.6 Golf men, Apparel Arts, 1940s. Image
Courtesy of The Advertising Archives.

Men’s Fashion Illustration: An Overview  19

 A stable of fine illustrators—some staff, some pants worn above the waist, polished shoes, and
freelance—did the work; chief among them were a Fedora. Flash was out, sobriety was in. Fash-
Robert Goodman (1911–48), Leslie Saalburg ion illustration was still seen in national retail
(1897–1973), and Laurence Fellows (1885–1964). advertisements in newspapers and magazines, but
The works of these artists were more than just editorial fashion art spreads disappeared. Even
drawings of a model in a particular outfit; very Apparel Arts stopped showing men’s fashion art.
often, the men’s clothing painted in the illustra-
tions was completely made up. First, artists were
given a general theme; they would then imagine
The Post-War Years: 1945–60
and create a detailed scene, with the model The post-war years began as a slow continua-
wearing the clothes in an appropriate environ- tion of the late 1930s, minus the optimism. The
ment. The typical Apparel Arts man was a mature, war may have ended, but there were still major
prosperous gentleman doing what prosperous shortages: With European economies shattered,
gentlemen do: attending boardroom meetings, necessities were still being rationed. It wasn’t
going to cocktail parties, visiting n
­ ightclubs, sail- until the late 1940s that a semblance of normalcy
ing, golfing, etc. Expertly rendered in vibrant returned. With aid from the United States
watercolor with confident brushstrokes, carefully in the form of the Marshall Plan and govern-
delineated shapes, subtle shadows, and an econ- ment rebuilding, people began to buy things
omy of line, the illustrated Apparel Arts man came again. A consumerist society started to develop,
to vivid life as a sophisticated and urbane man influenced by US cultural and political power.
of means. To view these illustrations now is to Christian Dior’s “New Look,” in 1947, marked
see a striking evocation of the 1930s and early a new age in women’s fashion, but there was
1940s: an era of elegant tuxedos, rakish Fedoras, no male equivalent, just a subtle change in the
and perfumed boutonnieres. proportion and detail of the average man’s suit
In 1933, the popularity of Apparel Arts led to the and the introduction of synthetic fabrics. Radical
creation of the first men’s magazine in the United change wouldn’t occur until the 1960s. Instead
States: Esquire magazine. Unlike most men’s maga- of lavishly illustrated fashion editorials in men’s
zines, this one was focused on fashion. By 1957, magazines, fashion illustrations were only adver-
Apparel Arts, still published by Esquire, was trans- tising basic and mundane menswear, like flannel
formed back into a quarterly magazine. A year shirts and overcoats. Fashion illustration had
later, the magazine was renamed Gentleman’s Quar- begun a slow but steady decline.
terly and made a monthly periodical.The magazine Nevertheless, editorial fashion art had a brief
was rebranded yet again, in 1967, as GQ. reprieve in the mid-1950s.There were many fine
From 1939 to 1945, menswear fashion trends commercial artists, but few who specialized in
were forced to take a back seat to war; Second men’s fashion illustration; the few who did made
World War military uniforms were almost a name for themselves. Some of the international
universal for men in Europe and North America. artists whose work helped to define fashion art
Those not in uniform wore a suit not too differ- in that decade include Gerd Grimm (1911–98)
ent from that of the 1930s: broad-shouldered in Germany, Eric Stemp (1924–2001) and Brian
suits, single- or double-breasted, wide, pleated Stonehouse (1918–98) in the UK, Max Hoff

Illustrated Men  20
 found work scarce during the war years. Later,
in the 1940s and 1950s, he worked with French
couturiers Jacques Fath, Pierre Balmain, and
Hubert de Givenchy, but he was most closely
associated with Dior. His illustrations in water-
color and gouache displayed a bold graphic
sense often highlighted with a sinuous black line,
revealing the influences of Toulouse-Lautrec and
Japanese calligraphy. The Gruau man was a lean
and elegant creation, a European gentleman at
ease in black tie and self-assured in a pinstriped
suit. Gruau’s menswear images share the same
mode of expression as his women’s fashion art:
complex but sparing illustrations with a strong
graphic sense, and with just enough imagery to
suggest an environment or narrative. While he
continued working until his death at the age
of ninety-five, his most influential period as a
commercial artist was in the 1950s and 1960s.

Figure 1.7 Cover of Sir—René Gruau. © The

Advertising Archives / Bridgeman Images.
The Silver Age of Men’s
Fashion Illustration: 1960–89
(born Maximilian J. A. Hofbauer, 1903–85) in
Austria, and the Japanese artist Setsu Nagasawa Whenever anyone mentions the 1960s, the first
(1917–99).Though all were brilliant and success- things that usually come to mind are miniskirts,
ful, none had the popularity or longevity of long hair, love beads, and the Beatles. Obviously,
France’s René Gruau. the 1960s amounted to much more than that.
Gruau (1909–2004) was a fashion illustrator And one way to view the decade, or any decade
of remarkable skill and style. His glamorous illus- for that matter, is to remember that decades
trations, particularly for Christian Dior during are artificial measurements of time. The 1950s
the post-Second World War years, exemplified didn’t end precisely at midnight on December
the restored elegance of Parisian fashion. Born in 31, 1959, and the 1960s didn’t disappear at 12:01
Rimini, Italy, in 1910 as Count Renato Zavagli a.m. on January 1, 1970. In fact, one could argue
Ricciardelli, he took his mother’s maiden name, that there were three distinct fashion periods in
Gruau, after his parents’ separation and divorce, the 1960s, and the first third of the decade was
and was first published at the age of fifteen, after a continuation of the late 1950s establishment
moving to Paris with his mother. For much look.
of the 1930s he worked for fashion magazines Leaving aside the growing phenomenon of
and advertising agencies; Gruau later said he US sportswear, the early 1960s men’s suit was a

Men’s Fashion Illustration: An Overview  21

leaner, trimmer silhouette. Think of the sober, p­hotographs of the day. Pimsler continued to
shapeless suit worn by Gregory Peck in The Man work as an illustrator through several decades,
in the Gray Flannel Suit, a 1956 film about the teaching at several art colleges, and later becom-
corporate conformity of the 1950s. Now, recall ing the president of the Society of Illustrators in
the sleekly tailored Sean Connery as James Bond New York. He died at the age of ninety-six.
in 1964’s Goldfinger. This is the menswear look The 1960s and 1970s were dizzying and
of the early 1960s. The sophisticated and mature tumultuous decades. The status quo was being
man of the 1930s Apparel Arts became a younger, challenged as never before: from the black civil
more athletic, but still cosmopolitan, gentleman: rights movement to the Vietnam War protests,
This is made clear in the illustrations of Al Pimsler. from the gay liberation struggle to the femi-
Alvin J. Pimsler (1918–2014) was born in nist movement. Serious artists of all stripes
Flushing, New York. He graduated from the responded to this rapid social change in a vari-
Pratt Institute School of Fine and Applied Arts ety of ways, but few fashion illustrators were as
in 1938. In 1941 he was drafted into the army representative of the period as Antonio Lopez.
and became a first lieutenant. While overseas, He managed, with remarkable virtuosity, to rede-
he was later captured and became a prisoner fine and ­ reinvigorate fashion illustration even
of war (POW). With the fall of Berlin in 1945, as the profession was dying. While he was not
POW camps were swiftly abandoned by German the first illustrator known for his versatility, he
soldiers, and Pimsler soon escaped with other was the first to aggressively adapt his style to the
POWs. Weeks later, he and others were found ever-changing 1960s, 1970s, and 1980s. And his
by US forces and shipped back to the States. extraordinary visual vocabulary, along with his
After returning from the war, Pimsler married, graphic and decorative boldness, seemed to not
had children, and spent the next several decades only reflect those times, but to also predict the
establishing himself as a distinguished and influ- future of both fashion and art. It is this remark-
ential fashion illustrator. Pimsler’s illustrations able adaptability that may have made it possible
were like him: handsome and urbane, but also for him to succeed where others had failed, even
graphic and dynamic. His work, like those of though fashion illustration had been on a slow
his fellow illustrators of the period—Marbury decline since the early 1960s.
Brown, Bob Peak, Jim Dickerson, Harlan Antonio was blessed with many gifts; one of
Krakowitz, and Austin Briggs—responded to the many was his exquisite sense of timing. Born in
competitive challenge of fashion photography by 1943, in Utuado, Puerto Rico, he came of age
reducing a fashion drawing to its bare essential: as an illustrator in 1963, when fashion illustra-
line. Using a thick charcoal stub, a thin graph- tion was at its lowest ebb. By age two, he was
ite pencil, or a chiseled black marker, Pimsler drawing pictures of his mother, a seamstress and
stripped away anything that might compete with dressmaker. In his early teens he was a student
the energetic and descriptive line of a drawing. at the Fashion Institute of Technology (FIT) in
He worked often with models, drawing directly New York, and it was there that he met his life-
from them with pencils and watercolor washes, long friend and associate, Juan Eugene Ramos
giving his illustrations a spontaneity and forceful- (1942–95). Juan became his creative collabora-
ness that contrasted dramatically with the fashion tor, sometime office manager, researcher, and

Illustrated Men  22
Figure 1.8 Business Group—Alvin Pimsler. Images courtesy of
Fashion Institute of Technology SUNY FIT Library of Special
Collections and College Archives.
sounding board.Though their romantic relation- viewer intuit the story or theme. Rather than
ship ended after several years, it was Juan, through stay in one commercial style, why not learn and
his own considerable artistic instincts and knowl- borrow from Boldini or Léger? This constant
edge, who channeled and directed Antonio’s need to reimagine the style of his work, and
creative impulses. It was Juan who could criticize the methods that went with it, not only became
Antonio’s work and demand changes and make Antonio’s signature, but also allowed him to stay
sure they happened. And it was Juan who was one step ahead of the crowd. His experiments
with Antonio at the end. Although their long with different media seemed a never-ending
association was sometimes challenging, both process: color pencils, markers, gouache, water-
recognized how essential their teamwork was to color, collage, inks, colored film, photomontage,
their success. At nineteen, Antonio dropped out computer-generated images—all were used and
of FIT when offered a job at Women’s Wear Daily. explored. His artistic influences were legion—
After six months, he left to accept a position at Warhol, Hockney, Rauschenberg, Baskt, dance,
the New York Times. And it was here that Anto- music, Japanese prints, film, and photo realism, to
nio’s career began its spectacular ascent. name but a few—but this ­referencing of contem-
While his earlier work was reminiscent porary fine art would be his most consistent
of René Bouché and Kenneth Paul Block— influence. He was like an all-seeing and omniv-
elegant charcoal renderings of fashionably sedate orous fashion editor who just happened to be
women—he now carved out a different path. a superb draftsman. If there was one singular
Unlike older fashion illustrators, who tended to difference in Antonio’s approach to fashion
glamorize and invent the upper classes, Antonio’s illustration, it was his use of what were then
work, like that of so many commercial and fine considered unconventional models.
artists of the period, reflected a new idealization For most of the 20th century, the ideal man,
of youth. Former social and cultural standards and therefore the ideal man of fashion, was
were breaking down. The old guard was dead. tall, mature, wealthy, white, and straight. As
Antonio had always worked from life. In fact, mentioned earlier, the 1960s, 1970s, and 1980s
his use of friends and acquaintances as models were decades in which the values and social
was a continuous source of inspiration—a structures were constantly being challenged.
defining aspect of his art that will be discussed Therefore, it came as little surprise to see these
later—as he began to experiment with different changes reflected in popular culture. However,
media and concepts. And in this he was encour- to see these developments in fashion illustration
aged by a kindred spirit, Katharina Denzinger was, at the time, revolutionary. Antonio’s draw-
(1931–2019). Denzinger was a German-born ings of black, Asian, Latino, and gay men (his
fashion illustrator and friend of Antonio’s, best friends and acquaintances) echoed the contem-
known for her avant-garde fashion illustrations porary—and still relevant—discussion of what
in Harper’s Bazaar and for her collaborative work constituted a “fashionable man.” His enthusiastic
with Richard Avedon. She, like Antonio, believed embrace of those normally rejected by fashion
that rather than just putting a figure down on professionals as not only beautiful, but also glam-
paper, one should think about the narrative or orous, contributed to a redefinition of what is
graphic concept behind the piece, and let the beautiful today. It’s doubtful that Antonio was

Illustrated Men  24
Figure 1.9 Antonio—Personal study, Mike Morino. 1983, pencil, watercolor, and gold paint on paper. The Estate &
Archives of Antonio Lopez and Juan Ramos.

Men’s Fashion Illustration: An Overview  25

heavily involved in any intellectual critique illustrations that recalled the academic drawings
concerning ideas regarding dress, masculinity, of John Singer Sargent. Editorial spreads with
race, or gender representation. But he didn’t have fashion illustrations occasionally appeared in art
to be—his art itself did that for him. magazines like La Mode en peinture (1982), Condé
Antonio’s prolific career sent him to Paris, Nast’s Vanity (1981), and Visionaire (1991).
where he and Juan spent seven years. Later, he Lastly, there were the fashion trade magazines
traveled to the major fashion capitals of the like L’Officiel de la mode et du couture, International
world, bringing his exciting and eclectic view of Textiles, and Sir, which continued to inform the
fashion with him. By the late 1970s he and Juan merchandisers, designers, and fabric houses that
had returned to New York and settled in a loft made up the fashion insiders. In New York the
on Union Square West. There, his studio became menswear trade magazine of choice was DNR.
a major meeting place for artists, models, dancers, The Daily News Record (or DNR) was an
and anyone one else who amused or interested American trade journal that specialized in men’s
the couple. During this time, his work included fashion. Created in 1890 by Edmund Fairchild,
illustrations for designers, advertising campaigns it began as a mimeograph paper, then called the
for department stores, album covers, lectures, and Daily Trade Record, and was distributed at the
portraits. He worked closely with Anna Piaggi Chicago World’s Fair in 1893. The paper proved
on the magazine Vanity, and later published two so popular that Fairchild and his brother Luis
books, Antonio’s Girls and Antonio’s Tales of 1001 decided to continue publishing the paper after
Nights. He was the only artist to be regularly the fair was over. The journal became known
featured in Vogue. as the Daily News Record in 1916. Later, a small
Antonio Lopez died in Los Angeles in 1987; section devoted to women’s wear was added to
he was forty-four. His long-time friend and the paper. Soon this feature would split from
collaborator, Juan Ramos, died in 1995; he the journal and be given its own publication,
was fifty-three. Both died of AIDS. Antonio’s titled Women’s Wear Daily (WWD). In 1960,
­ceaseless exploration and redefinition of fashion John Fairchild changed the look of WWD and
illustration was, and is, widely applauded, and DNR by employing a team of talented illustra-
continues to influence fashion artists to this day. tors to provide up-to-the-minute coverage of
By the mid-1980s fashion illustration was the fast-changing fashion market. Unusually
rarely seen in men’s magazines; there were for their time, WWD and DNR allowed artists
popular and influential fashion artists like Tony (often fully credited) almost complete freedom
Viramontes, but no one illustrator dominated to record and interpret the zeitgeist as they saw
menswear illustration: Photography had long it.These staff illustrators worked for a daily trade
supplanted illustration as the dominant producer paper with almost impossible deadlines, yet
of men’s fashion images. And yet one could still their initial creative impulses helped to shape
find, here and there, examples of menswear art. how many readers perceived current fashion.
There were advertisements in New York depart- A partial list of these incredible artists includes
ment stores like Bloomingdales, Lord & Taylor, Kenneth Paul Block, Steven Stipelman, Anto-
and Barney’s. At Bergdorf Goodman, George nio, Pedro Barrios, Steven Meisel, Catherine
Stavrinos produced exquisitely drawn fashion Clayton Purnell, Anneliese Gmelch, Richard

Illustrated Men  26
Rosenfeld, Glenn Tunstull, Robert Passantino, final semester, before graduation. Melendez was
Kichisaburo Ogawa, and Robert Melendez. hired as a full-time staff artist in June 1967. His
Melendez would eventually become the signa- association with WWD and DNR would last
ture artist for DNR. nearly a quarter century. Like any professional
Robert Melendez (1944–) was born in illustrator who manages to work for decades,
Ybor City, a neighborhood in Tampa, Florida, Melendez was extremely versatile. Inspired
the youngest of five children. His parents, both by popular culture, fine art, and classic fashion
from Puerto Rico, had moved to Tampa in the illustration, he was constantly reinventing his
mid-1920s. Inspired by an older sister, the p­ opular approach to fashion art. He worked in Rapi-
Katy Keene comics, and illustrated department dograph pen for line drawings, color pencils,
store ads, Melendez became interested in fash- charcoal, watercolor, markers, airbrush, and color
ion illustration. Once he was accepted to Parsons adhesive film, perfecting each style. Melendez’s
School of Design, Melendez left Florida for New hard-edged layouts and bold graphic figures were
York. As a student, he worked his way through reflections of 1980s New Wave, and the Milan-
college, and on the recommendation of one of ese Memphis Group. These post-modern art
his instructors, Anneliese Gmelch, he was hired movements, a blended style of Art Deco, Pop Art,
to work at WWD three days a week during his and the kitsch styles of the 1950s, can be seen in
some of the art of the decade along with some of
Melendez’s color illustrations. Working from life
and from reference files for inspiration, his mens-
wear illustrations are cool, colorful, and graphic.
Although highly stylized, with precise black lines
and ellipses reminiscent of architectural drawings,
his beautifully rendered men still come across
as recognizable types. With their broad padded
shoulders and dimpled chins, Melendez’s men
are often sexy and always fashionable. His DNR
art constantly showcases abstraction and asym-
metry, but never loses sight of the figure, or the
clothes he’s tasked with illustrating. His compo-
sitions and layouts always manage to effortlessly
enhance his figures. Melendez left DNR in the
late 1980s and rejoined WWD. He left a few
years later, when photography replaced illustra-
tions at WWD, and became a freelance artist
at Simplicity Pattern Company specializing in
graphic design and digital art. He retired in 2017.
Figure 1.10 DNR cover 1979—Robert Melendez. In 1999, Fairchild Publications, Inc. was sold
Images courtesy of Fashion Institute of Technology
SUNY FIT Library of Special Collections and College to Condé Nast Publications after being briefly
Archives. owned by The Walt Disney Company. DNR’s

Men’s Fashion Illustration: An Overview  27

print edition ended in 2008, and its men’s fash- they managed to remind art directors and fashion
ion coverage was absorbed into WWD. It is now editors just how compelling fashion art could be.
an online-only publication. Fashion illustrators such as Colin Barnes, Thierry
Perez, Gladys Perint Palmer, Jason Brooks,
Stefano Canulli, Ruben Toledo, Jordi Labanda,
­ en’s Fashion Illustration
M Lorenzo Mattotti, Jean-Philippe Delhomme,
Today: 1990– François Berthoud, Kareem Iliya, and, in
particular, Mats Gustafson and David Downton
The last two decades of the 20th century, and reconceived modern fashion illustration, thereby
the first two decades of the 21st, were inter- making it relevant again. Most of these artists
esting times for fashion illustration precisely specialized in women’s fashion illustration, but
because the changes to the profession seemed there were those who also had a feeling for men’s
so contradictory. On the one hand, fashion illus- fashion; Eduard Erlikh was one of them.
tration in general, and men’s fashion illustration Erlikh’s watercolor drawings are fluid shad-
in particular, was in obvious decline: Editorial ows, vivid and colorful figures that seem to
fashion illustrations in magazines were increas- prance and spin on an invisible catwalk. While his
ingly rare, and the type of retail advertising art dynamic silhouettes sometimes lack the details of
that was once popular in daily newspapers was more realistic fashion drawings, they more than
slowly disappearing. On the other hand, there
was an explosion of new and original talent that
seemed to defy the early death notices for fash-
ion illustration. By the mid-1990s artists of all
stripes were experimenting with various digital
programs such as Photoshop and Illustrator. The
availability and freedom of this new medium
led to online media and the creation of blogs,
websites, and digital magazines; this in turn led
to artists attempting new ways of illustrating for
online and print publications.
For fashion designers, the computer became a
design tool, another way to explain and enhance
a designer’s ideas. For illustrators, fashion
­illustration seemed to morph from a profession
solely focused on fashion to one that redefined
itself as “lifestyle” illustration. This small effort
at rebranding helped to broaden the ways in
which a fashion illustrator could, depending on
their skill and tenacity, compete in some small
way with general illustrators. The work of these
new illustrators was so varied and original that Figure 1.11 OrangeTrench—Eduard Erlikh.

Illustrated Men  28
make up for this in their movement and attitude. Despite what we know about Photoshop and
His men are, in a word, hip. Eduard Erlikh was computer-generated images, many people believe
born in Russia, in 1962. He attended the Art photography is a more honest and reliable image
Academy in Moscow from the age of eight. At conveyor, regardless of how faithful or realistic an
sixteen, he studied fashion and costume design artist’s rendering of a subject might be. Illustrators’
at the Moscow Textile Institute, and at twenty reactions to the pervasiveness of photography
he studied fashion illustration in New York, at have varied. Some ignore the rivalry, while others
the FIT and Parsons School of Design. His big (e.g., Andy Warhol) abandon fashion illustration
break came when the US Vogue magazine called for another field. A select few rise to the chal-
him to illustrate a massive 24-page ad campaign. lenge head-on. One such artist is Richard Kilroy.
From there he went on to create ad campaigns British-born illustrator Richard Kilroy grew
for Tiffany & Co., Lanvin, Ann Taylor, Clin- up obsessively drawing cartoon and video-game
ique, and Cinzano, along with editorial work characters. In his teens, he discovered fashion
for Elle, Bazaar, Madame Figaro, and L’Officiel, illustration through the Art Nouveau posters
to name a few. He has also designed costumes of Alphonse Mucha, and the occasional fash-
for ballet and has had his work exhibited by the ion art of The Face magazine. After graduating
Vienna State Opera Museum. Erlikh’s illustra- from Leeds College of Art, he began his career
tions, like many of his contemporaries’, deal
with abstraction. He does not draw faces or
fingers and appears less concerned with an exact
representation of a fashion model than with his
idea of how a garment would actually look on a
moving figure. Rendered in bright, flamboyant
colors, his swaggering men seem animated by
club music that only they can hear. Erlikh’s men
are that rare thing in fashion illustration: they
are sexy. The world is their runway. Despite his
emphatic modernity, Erlikh’s vivid and exuber-
ant watercolor paintings share the same flowing
lines and graphic shapes as earlier fashion artists
like Christian Bérard and Marcel Vertès.

PHOTOGRAPHY VS. ILLUSTRATION

One of the more persuasive explanations for the
popularity of photography over fashion illustra-
tion is the belief that a photograph simply records
reality—the viewer often conveniently ignoring
the person behind the camera—while a draw-
ing is a subjective interpretation of a subject. Figure 1.12 Richard Kilroy—Lanvin 12.

Men’s Fashion Illustration: An Overview  29

as a fashion illustrator, concentrating on mens- returned to Puerto Rico two years later and
wear. His work includes editorial illustrations for became a designer for a local design house. It
VMan, Homme Style, and Numero magazines, and was while working as a designer that he attended
work for Canali, Paul Smith, Christian Dior, and a major fashion event in San Juan, and it was
Elton John. there that he met Antonio Lopez. Though more
Kilroy’s incisive drawings subtly mimic of a warm acquaintance than a close friendship,
photography while being clearly handmade. Aponte’s relationship with Antonio was never-
Using a graphite pencil to skillfully render a theless life-altering. Two years later, he would
face, an arm, or a suit jacket, Kilroy can capture return to New York, with Antonio’s encourage-
the stillness and detailed appearance of a photo- ment, and attend FIT and the School of Visual
graph while also making brushstrokes and pencil Arts. Aponte first gained widespread notice as
marks that are emphatically man-made. Blending a menswear illustrator with his masking-tape
photorealism, negative space, and color blocking illustrations for Visionaire magazine; his bold,
with simple lines, he is able to produce extraor- abstracted images were an imaginative new take
dinary work that is both a commentary on the on men’s fashion illustration. Witty, original,
collision between illustration and photography, and somewhat ominous, his masking-tape art
and a unique take on menswear illustration. His was also exquisitely drawn, and it is this skill as
work continues to develop, and his subject matter a draftsman that is apparent in all of his subse-
has expanded. In 2015, Kilroy wrote Menswear quent work. The clean, varied lines of his marker
Illustration, one of the rare books on contempo- drawings, or the digital figures that mimic chalk
rary men’s fashion illustration. renderings, are the result of disciplined obser-
There is no longer a common artistic look vation and skill. Influenced by Antonio and the
or feel among current menswear illustrators. fashion artist Jack Potter, Aponte’s art has an
Today, unlike in decades past, there is no single elegant simplicity that resists becoming merely
dominant style. This freedom allows artists who decorative. His minimalist illustrations are an
concentrate on menswear to approach the subject expressive distillation of whatever his subject is,
with different emphases, some using a particular whether it is a walking figure, a man in a hat, or
medium to convey their vision, others changing a cathedral. Aponte’s work has been featured in
their approach to men’s fashion illustration as the New York Times, Elle and Esquire magazines,
often as their mood or clients demand.The work Bil Donovan’s Advanced Fashion Illustration, and
of Carlos Aponte is a prime example of the latter. Richard Kilroy’s Menswear Illustration.
Aponte works in a variety of illustrative styles, We are inundated by images—we can’t
but each one exhibits a strong graphic sense and escape them. We see them on our smartphones,
an unerring eye for shape and line. on our TV screens, in movie theaters, in maga-
Carlos Aponte was born in New York and zines, and on websites. And most of these
raised in Puerto Rico. While in school, a favorite images are photographs. Our visual expectations
teacher encouraged him to become a fash- have been conditioned by photographic and
ion designer, and after graduating high school ­computer-generated images of what we see every
and winning a scholarship, he attended Parsons
School of Design as a fashion design major. He Figure 1.13 Lanvin 6—(Tape Figure) Carlos Aponte.

Illustrated Men  30
day. The photograph has become the dominant
form of image representation today. Small wonder,
then, that many illustrators choose to ­emphasize
the comparison between the camera and the artist,
by either further ­ exploring our contemporary
interest in abstraction or choosing to highlight the
contrast by reaching farther back, to the academic
and classical tradition of earlier artists. Ryan
McMenamy is such an ­illustrator.
McMenamy, who lives in New York, creates
work that is beautifully and unambiguously
hand-drawn. Charcoaled figures are either
appealingly rendered in chiaroscuro, with dark
patches of background that throw into relief
the highlighted folds of a garment, or they are
painted, and cropped figures are done in flat
planes of color. He is influenced by John Singer
Sargent, Edward Hopper, and every Wyeth (N. C.,
Andrew, and Jamie), artists whose work reflects
Figure 1.14 Blue-suited man seated in a lounge.
his love of the academic training of the late 19th Artwork by Ryan McMenamy.
and early 20th centuries. Yet his art is anything
but old-fashioned. McMenamy was born in one of the posters of Toulouse-Lautrec and René
Duxbury, Massachusetts. He attended Parsons Gruau. McMenamy’s commercial clients include
School of Design with the intent of becoming a Calvin Klein, Bergdorf Goodman, VMan, Men’s
fashion designer. However, during his foundation File, Man of the World, and H&M.
year he discovered how much he loved draw-
ing, and soon switched his major to Illustration,
ILLUSTRATION IN THE AGE OF
eventually graduating with a Master of Fine Arts.
SOCIAL MEDIA
McMenamy’s art consists of abbreviated narra-
tives, and partial images, of fashionable men frozen Globalization and social media have meant not
in time. His cropped menswear figures, glamor- only that images are instantly dispersed through-
ous and opaque, are elegant shadows caught in a out the world, but also that new information
moment of action: leaning over a desk, putting platforms have developed in order to showcase
on a coat, or crossing their legs while enjoying these digital images. In the past, designers would
a drink. They hide behind sunglasses and hood- have a collection photographed by a freelance
ies, often turning their backs to the viewer. His photographer and then published in a trade paper,
men are handsome but mysterious, conservative or magazine, usually in a few months. Now, such
but fashionable. His expertly drawn and edited images are disseminated throughout the world
scenes, with their positive and negative shapes, almost instantly. And with this new rapidity, and
and his sparing graphic compositions may remind the interest in online shows, there has been a

Illustrated Men  32
return to fashion illustration as a form of report- Communications. Gozum had always loved
age. Social media records these experiences and to draw, but believed his real strength was as a
shares them with millions, all while imposing graphic designer. He spent the next several years
a narrative or story through pictures. By digi- traveling back and forth between New York and
tally illustrating backstage scenes, along with the the Philippines, working as a menswear designer
models and the clothes, the artist can document for a small men’s boutique, a freelance art direc-
the creative process with a unique and subjective tor, and finally, a creative director in New York
eye and share the images almost instantaneously. for DG Williams, a top mannequin company. In
And if the artist can do this with the skill and 2011, after sitting in a class given by illustrator
talent of an experienced illustrator, so much the Bil Donovan, he decided to become a menswear
better. That is the approach of George Gozum. illustrator. A year later, Gozum started a project
George Gozum’s fashion art is distinguished where he would go backstage at several New
by old-school draftsmanship and 21st-century York menswear fashion shows, and unasked,
computer skills; his distinctive works appear to create old-school fashion reportage.
be traditionally created by watercolor or pencil, Fortuitously, that year was viewed by many
but they are entirely digitally created. Gozum as the beginning of a menswear renaissance, and
was born in Manila, in the Philippines. After Gozum, with his background as a designer and
graduating from an all-boys Catholic school, his skill as an artist, was able to stand out. This led
he attended the University of the Philippines to several young designers asking him to sketch
and its College of Fine Arts, majoring in Visual their shows. The powerful images he created
were used on social media and, not surprisingly,
gained attention. Gozum’s work is a unique blend
of sophisticated software, superior draftsmanship,
and a keen understanding of menswear. He works
digitally, but the look of his art varies: One piece
might look like an ink brush drawing, while
another might look like a charcoal sketch—such
is his skill. While he draws constantly from life,
his finished online drawings always begin digi-
tally. He does not scan his drawings, like many
digital artists; instead, he uses the computer to
make his images look as hand-drawn as possible.
Gozum consciously mimics traditional media,
mixing both classical and digital techniques, with
one informing the other. His client list includes
designers SIKI IM, Robert Geller, Antonio Azzu-
olo, Patrik Ervell, Sony, and Amazon. However,
George Gozum is not the only illustrator involved
in fashion reportage; he shares that distinction
Figure 1.15 Image courtesy of George Gozum. with another artist, Richard Haines.

Men’s Fashion Illustration: An Overview  33

Figure 1.16 Richard Haines—Thom Browne, 25 percent.

Illustrated Men  34
 Richard Haines is one of the most in-demand with J. Crew, Oliver Peoples, and Valentino
menswear artists in the field today. His ubiqui- Haute Couture. Haines has also illustrated for
tous charcoal drawings of fashionable men have the New York Times, Paper Magazine, GQ, New
been in magazines, catalogs, and books, and on York, and InStyle magazines, and in 2019 Haines
window displays and clothing around the world. exhibited his work at the Daniel Cooney Gallery
He has collaborated and worked with designers in New York. Frequently working from life, he
such as Dries Van Noten and Miuccia Prada, and sketches people, often unobtrusively, in parks,
yet his career as a menswear artist began rather sidewalks, and subways. His effortlessly styl-
late in life. Haines was born in Panama but raised ish men are hip and modern, but also flesh and
in Idaho. Like many artists, he started sketching blood. They don’t pose, but instead stand relaxed
at a young age, drawing gardens and bridal gowns and unselfconscious. His incisive and compelling
as a way of coping with the illness of his father. drawings, like all good fashion art, describe for us
As he got older, he copied the fashion illustrations the man, the place, and the time in a few spare
he saw in newspapers. After graduating from high lines. Haines works chiefly in charcoal, pastels,
school in Washington, D.C., he attended Virginia watercolor, and inks. His idiosyncratic, loose
Commonwealth University, where he majored lines are fast, gestural, and kinetic. His appealing
in fine arts and graphic design. After graduation, drawings manage to zero in on the salient details
Haines’s first job was at Vogue Patterns as an of the garment, while also conveying the look
assistant illustrator, sketching women’s fashions. and mood of the model. He may repeat a line for
After leaving Vogue Patterns, he began a success- emphasis, but his shapes are clear and evocative,
ful career as a menswear designer for Calvin leaving just enough unsaid to engage the viewer
Klein, Perry Ellis, Bill Blass, and Sean “Puffy” to complete the picture.
Combs. His abrupt change of careers occurred Fashion illustration has always existed in one
during the financial crash of 2008: It was then form or another. The need to recreate a strik-
that he lost his job and apartment and moved to ing figure of fashion in paint, pencil, or digitally
a loft in Brooklyn. There, he started a blog titled seems too strong to resist. And while traditionally
“What I Saw Today,” using it to publicize his most of the attention has focused on women’s
fashion illustrations. His blog eventually caught fashion illustration, the interest in menswear
the eye of Miuccia Prada, who commissioned art has grown as men have become ever larger
him to create illustrations for a line of T-shirts consumers of fashion. The history recounted
and a book. This highly sought commission took here, while brief, is the story of some of the bril-
off and helped to establish Haines as a popular liant artists who, through their individual talents,
menswear artist. Since then, he has collaborated have shaped the way we view the illustrated men
not only with Prada and Van Noten, but also of fashion of both the past and present.

Men’s Fashion Illustration: An Overview  35

36
 Drawing the Male
­2
Fashion Figure
so how do you say, in line and color, what you
What Makes a Good Fashion mean to say? What other creative choices must
Drawing? be made? This is where style comes in.
A good fashion drawing is both an idealized Style, in a fashion illustration, is a distinctive way
impression of a garment and an accurate state- of drawing or painting. It is a signature brushstroke,
ment of how the clothes should look on a figure. a particular graphic sense, or a characteristic way
It can be a simple sketch of a few lines showing with line or color. But it is more than that:A design
how a garment must be made, or a detailed illus- sketch must also have an individual approach to
tration with a narrative structure and a formal fashion.That might include stylized proportions, or
composition. The individual decides the choice artwork that is less realistic and more experimen-
of style and medium.What is the artist or designer tal. Most creative people have an aesthetic point
trying to say, and how do they say it? Is the sketch of view, a consistent list of likes and dislikes. Your
a problem-solving exercise, or a finished illustra- “style” is made up of your skill set, your changing
tion for presentation? Since fashion art deals with strengths and weaknesses, your personal prefer-
a degree of fantasy, strict adherence to reality isn’t ences, your artistic influences, and your evolution
necessary. It is up to the designer or illustrator to as a person and an artist. Style is the result of saying
decide the look of the figures: Should they be what you mean to say in a way that is appropriate
highly stylized or realistic? Computer generated to you and your medium.That your point of view
or hand-drawn? All art is a form of description, of fashion will gradually be transferred into your
artwork is not only inevitable but also expected.
Figure 2.1 Fashion Illustration George Gozum. Your style is what separates you from another

37
designer or artist. It is not only an expression of
your individual aesthetic, but also your brand.
Once you gain more experience and confidence,
you will develop and refine your own style.
Because of the transitory nature of fashion,
changes in the look of your drawings will occur
over time. If you understand the fundamentals of
fashion drawing—anatomy, balance, proportion,
a rudimentary understanding of how clothes are
made, and a familiarity with a variety of render-
ing techniques—you may alter your style to
suit the current fashion. A good fashion draw-
ing not only has a figure that effectively captures
the essence of a garment, real or imagined, but
also reflects the time and culture in which the
garment was worn.

What Is the Difference Figure 2.2 Renaldo Barnette—Design sketch.

between a Design Sketch
and a Fashion Illustration?
A fashion design sketch is often like a television
commercial in that it must tell the story of the
garment at a glance—its construction, fit, fabric,
and silhouette. It can be a detailed and realistic
digital drawing or an impressionistic marker sketch,
but brevity is everything. A good design sketch
describes a fashion design with speed, clarity, and
style. A fashion illustration is more like a movie:
There is more time to flesh out the story. One
might add more characters, create an environment,
or develop a narrative, but the focus is on the man
wearing the garment, and how he looks in it. A
good fashion illustration is meant to capture the
zeitgeist of the moment. It is not concerned with
a literal explanation of the construction of the
garment. Its aim is to evoke a spirit, and because its
primary aim is to sell, it is meant to seduce. Both
the designer’s sketch and the fashion ­illustration Figure 2.3 Lamont O’Neal—cropped peacoat.

Illustrated Men  38
must explain and persuade, but to do so one must
develop one’s drawing ability. Drawing is a skill,
and like all skills it must be learned. We learn to
draw by drawing, drawing, and drawing some
more. Illustrations communicate what is in the
designer’s head. The more practiced the drawing,
the more articulate the design will be.

Proportion
­ or beginners, one of the most difficult concepts
F
to grasp is the fashion proportion. It is not hard to
understand why: It can be challenging enough to
accurately draw a human figure, so to then proceed
to stylize it to conform to an ideal body type
would appear to be a further hurdle. But it really
isn’t as difficult as it sounds. The ancient Greeks
developed a set of proportions for their idealized
figures of gods and goddesses, and later, many
artists such as Ingres, Michelangelo, Modigliani,
and El Greco often created elongated figures to ­Figure 2.4 Parke & Ronen Spring 2018 show. Photo
express emotion or to provide tension within a by JP Yim/Getty Images for Parke & Ronen.
composition. Every culture has created its own
version of the physical ideal, though, inevitably,
that archetype changes over time. Proportions
change when fashion ideals change. In fashion
illustration, the figure was habitually stretched to
be slimmer and more graceful, to be in accord-
ance with current aesthetic norms; consequently,
a thinner, taller figure afforded more space for
the garment to be shown. Nevertheless, one
would be remiss to ignore the fashion world’s
increasing acknowledgment and representa-
tion of diverse body types. Many designers are
responding to consumer demand and including
body types that have long been ignored. Today,
there are clothes for very tall or short men, plus-
sized or full-figured men. Designers are also
creating adaptive clothing for seniors and people
with ­ disabilities. Recently, gender-fluid and Figure 2.5 Swimsuit illustration.

Drawing the Male Fashion Figure  39

Figure 2.6 Upper torso/Shoulders/Shoulder and arm/
Lower torso/Hips to knees/Lower leg from knee to foot.

Illustrated Men  40
gender-neutral models have also been included
NINE HEAD FIGURE
in fashion media. Nevertheless, you must first
master the canon before you can redefine it.
Chin
Learn the basics of fashion proportion, and later,
Plumb line
depending upon your own tastes, or the needs of
your client, you may discard the standard fashion
proportion for a proportion that better reflects
you and your work. Belly button and
In classical drawing, the common unit of meas- elbow are almost
level
urement was—and remains—the head: It marks
the various landmarks of the body and reveals the Crotch and
wrists and Finger tips are
height and width of sections of the figure. As an level mid-thigh
example, where a man of average height might
Knee caps
be about seven-and-a-half heads, the traditional
male fashion figure would be nine heads.
While the choice of a fashion proportion
varies according to the designer or illustrator, in
the beginning it is best to adhere to the more
common proportion of nine heads. Later, as you
Soles of feet
become more assured in your skills, you can settle
on a stylized proportion that best suits your vision.
Figure 2.7 Figure with nine heads.
Each figure we create will be nine heads
high.The height of the head, from the top of the From the hips to the knees is two heads high
skull to the chin, will be the rule for all vertical and the thigh is one head wide.
measurement, and the width of the head will The lower leg is slightly longer, at three heads
be used for horizontal measurement (e.g., the long from knee to foot, and is a little more than
shoulders or lower torso). Using this method, half a head wide.
we can map out the body and make it easier One way to gauge the correct proportions
to see the entire standing figure. To begin, the of a figure is to identify certain landmarks: The
upper torso is the largest part of the body and is elbow is level with the navel, or mid-section, of
roughly two heads high. the body; the wrist is parallel to the groin; and
The nine-head male shoulders are about three the hand is about two-thirds the length of a head.
heads wide. Another guide is to split the figure in half:
The upper arm and shoulder are a little From the top of the head to the hip is four heads,
shorter than the lower arm, including the hand: and from the hip to the bottom of the foot is
The shoulder itself is three-quarters of a head another four heads; add another head from the
wide, and the rest of the arm and hand are about calf to the foot—thus stretching the height of the
half a head wide. figure—and you have nine heads.
The lower torso, from the hip bone to the We are strictly concerned with the male
groin, is slightly under two heads wide. fashion figure here; still, it is helpful to bear in

Drawing the Male Fashion Figure  41

Figure 2.8 Male and female proportions.

Illustrated Men  42
mind the structural differences between the male might be wider, and, at seven heads, shorter,
and female figures. While both figures would than a runway figure, which is very narrow, and
conform to the nine-head formula, the female shorter still next to a highly stylized figure of ten
figure would be drawn slightly shorter than the heads. Regardless of the figure’s scale, its body
male because of the measurements based on her parts, muscles and bones, still retain the same
smaller head. relative proportions.
The bones of the male are bigger and longer; Part of the process of learning to draw is train-
the shoulders of a man are broader, but the ing your eye to recognize the correct proportions.
pelvis or “hip section” is narrower than that of Using the head as a unit of measurement is help-
the female; men’s arms are longer in proportion ful in the beginning, but you cannot draw all
to the trunk than the female’s; male legs are also your figures with rulers and triangles. You must
longer (proportions may vary, depending on the train your eyes to gauge proportions unaided—
figure you wish to illustrate). A plus-sized man and that only comes with constant practice.

Figure 2.9 Five different male proportions.

Drawing the Male Fashion Figure  43

 Figure 2.10 Front, back.

Basic Anatomy and the understanding the skeletal structure of the body
Simplified Construction is key to a good fashion illustration.
In this chapter, we will study the essentials of
of the Figure figure construction and anatomy. Our focus will
Simply put, one cannot create a fashion design be on the relationship between muscle and bone,
sketch, or an illustration, without rudimentary and how they work together. It is important that
knowledge of the human body. Ignoring basic you take the time to carefully study the body’s
anatomy in a fashion drawing is like building a structure, but you aren’t expected to memorize
car without a chassis: Without an internal struc- the names of all those bones and muscles—some
ture to bear the load of the outer shell, the car of the names will stick, others will not—what
would collapse into a pile of unrecognizable parts. matters is that you remember their functions, and
To extend the metaphor, the human figure is the their connections to each other. Equally vital is
vehicle of expression we have chosen to capture recognizing which bones, or muscles, affect the
the look and feel of a garment in a ­drawing, so appearance of the clothed figure. In a fashion

Illustrated Men  44
 Figure 2.11 Side and three-quarters.

sketch, one should be able to sense the body the spine to bend, twist, turn, or remain
beneath the clothes. As your knowledge of anat- erect. The spine also serves to protect the
omy improves, you will be better able to sketch organs of the body.
from memory. •• The rib cage: Below the clavicle, or
collarbone, is a framework of bones called
the rib cage. The ribs come around from
THE PRINCIPAL BONES OF THE
each side of the spine and meet in front,
BODY
along a flat bone called the sternum or
•• The skull is a hard, egg-shaped bone breastbone.
structure, resting on the upper end of the •• The shoulder and arm bones: The
spinal column. shoulders are suspended from the upper
•• The spinal column is the center struc- part of the rib cage in a shape known as
ture, or backbone, supporting the body; it the shoulder girdle. This connects the two
comprises a series of small bones placed upper arms to the structure of the rib
one atop the other, called vertebrae. The cage, the clavicle, and the shoulder blades
flexibility of this string of bones allows (or scapula). The larger arm bone, at the

Drawing the Male Fashion Figure  45

 top, is called the humerus. The lower part
of the arm consists of two bones of equal
size: The bone on the inside is known as
the ulna, and the outside bone is known
as the radius.
•• The thigh and leg bones: The thigh
bones, also known as femurs, are separated
by the pelvis; these bones tilt inward, side
by side, where they touch. The lower leg
contains two bones. The larger is called
the tibia, or shinbone; located on the
outside, and slightly behind, is the smaller
bone, known as the fibula. The proper
name for the bone that is commonly
called the kneecap is “patella.”
•• The bones of the foot: The lower ends
of the two leg bones, the tibia and the
fibula, join to form the ankle joints. The
inside ankle joint is slightly higher than
the outside ankle joint; the foot is arched.
The foot bones are bound by ligaments,
giving the foot movement and solidity.

THE MUSCLES OF THE BODY

If the bones represent the framework and struc-
ture of the body, then the muscles serve as the
covering that affects the surface of the body.
Muscles are the soft tissue that not only gives
shape and form to the physique, but also functions
to produce force and movement. While women
have the same muscles as men, their muscles
are generally smaller and less pronounced. The
musculature of the male fashion figure is not to
be confused with that of a comic book ­superhero,
but neither should it look like the average man
on the street. In addition to being taller, the
typical male fashion figure is thinner. His chest
and shoulders are broad, but the legs and arms,
Figure 2.12a Skeleton.
though muscular, are longer and slimmer.

Illustrated Men  46
 While it is useful to learn the various names
of muscles, remembering their function and
appearance is more important to an artist. There
are many more muscles than bones, so we will
simplify this phase of anatomy by referring to
only those major muscle groups that have the
most to do with the outward look of the body.

•• The pectoralis major is a large,

fan-shaped muscle in the pectoral region
that is responsible for the movement of
the shoulder joint.
•• The deltoid is a round, tapered muscle
located at the top of the shoulder and the
upper side of the arm.
•• The rectus abdominis, also known as
“abs,” is a paired muscle group lying verti-
cally on each side of the abdomen. The
two muscles are separated by a band of
connective tissue called the linea alba.
•• The biceps is the larger muscle in the
upper arm that flexes the arm and
forearm.
•• The triceps is a large muscle on the back
of the upper arm. It is responsible for
the extension of the elbow joint which
straightens the arm.
•• The rectus femoris, commonly known
as the quadriceps, is the muscle attached
to the hip, and helps to raise and extend
the knee.
•• The gastrocnemius is the large muscle
of the calf. Running to the Achilles tendon
from two heads attached to the femur, it
enables the flexing of the knee and foot.
•• The brachioradialis is the muscle of
the forearm that flexes the forearm at the
elbow.
•• The semitendinosus is one of three
hamstring muscles located at the back of Figure 2.12b Muscles.
the thigh.

Drawing the Male Fashion Figure  47

 the figure down to an easy-to-understand size.
­ Simplified Construction of
A One way to look at the figure is to reduce it to a
the Figure series of simple basic forms. The head becomes
As stated earlier, a thorough knowledge of an egg shape; the neck is a short column; the
human anatomy is key to drawing a convincing upper torso is a three-dimensional barrel
figure, but when one adds the other thousand- connected to a line representing the spine; that
and-one biological details facing the artist, line is connected to the lower torso, a slightly
figuring out where to start, and how, can be smaller barrel; upper and lower arms, and upper
intimidating, so it’s best to begin by whittling and lower legs, are represented by modified
cylinders, and the joints become small spheres.
The hands and feet are now cubed, and coned,
forms. By reducing the figure to these simple
solid forms, you will begin to understand not
only the separate essential parts of the body, but
also their relationships to one another, and their
three-dimensional form.

Shoulder 1½ head
The Upper Torso
Students often view the upper and lower
torso as an undifferentiated block of muscle
3½ waist-elbows and bone. This is not true, but it does help to
explain why many figure drawings look stiff.
Think of the torso as consisting of three masses:
Hips 4¼
the chest, the abdomen, and the pelvis. The
chest, or rib cage, is shaped like a three-sided
cage, and because the ribs and pelvis are made
of bone, they are fairly rigid. The abdominal
mass, which contains no bone, is flexible, and
6¼ knees
is why the waist is flexible. The clavicle, the rib
cage, the sternum, and the shoulder blades are
supported by the spine, and cover and protect
the internal organs.
The front of the torso has a furrow travers-
ing the full length of the torso. Beginning at
the pit of the neck, it runs through the chest,
dividing the pectoral muscles, continues through
Figure 2.13 Block form of figure. the navel, and ends at the pubic bone. A similar

Illustrated Men  48
furrow marks the center of the back; this organic
dividing line serves to remind us of the symme-
try of the human body. Abstracting the torso into
two barrels or cubes—thereby abstracting the
upper and lower torso—separated and attached
by a line representing the spine, and then adding
muscles, will help give your figures dimensional-
ity and flexibility.

Arms, Legs, Hands, and Feet

THE ARM AND HAND
Although we have already discussed the basic
anatomy of the arm, and the combination of
bones and muscles that make up the structure, a
brief review of the arm and a closer look at the
hand is in order. As stated previously, the front
view of the arm will show the deltoid, biceps,
and forearm.The back and side view will include Figure 2.14 Arm and hand.

the triceps. From the armpit, where the arm

separates from the body, the arm will gradually
taper to the elbow, becoming larger after the
elbow and then becoming smaller at the wrist. four fingers vary in size, with the middle finger
The hand joins at the wrist. being the longest. There are three bones in each
finger, starting with the knuckle. The knuckles
of the hand form an arc which is repeated in the
THE HAND
middle and end joints of the fingers.
­ he hand is viewed by many artists as one of
T The bones of the hand fan out from the wrist.
the more difficult parts of the human anatomy to When the hand is open, the fingers form an
draw, and it is easy to understand why. The hand apex. Viewed from the side, the fingers are like
is a complicated structure: It is easy to under- three steps that taper down to the fingertips. In
stand and yet confusing to render. Therefore, it comparison to the female hand, the male hand
may be helpful to think of the hand as having is wider and somewhat squarer. If we continue
two masses: The first, the palm, is a square mass; to use the head as a unit of measure, the hand
the second, the thumb, is an adjoining mass. The would be the length of the face from chin to
thumb is at a right angle to the hand and moves mid-forehead. The easiest way to draw the hand
independently of the other fingers. The other is to abstract it into a series of basic forms, either

Drawing the Male Fashion Figure  49

Figure 2.15 The hand.

breaking the structure into block forms or creat- mistakes in your drawing, will you improve. The
ing a simple silhouette. more you sketch, the more you’ll learn.
Observation and simplification are key in
learning how to draw hands. Unlike other parts of
­T HE LEG AND THE FOOT
the body, the subtle changes in how the hand looks
and operates requires careful study. Try sketching The leg is made up of three basic parts: the thigh,
hands at every opportunity. As mentioned earlier, the lower leg, and the foot. The thigh is wide
only by drawing, and learning from the inevitable near the pelvis and then narrows toward the

Illustrated Men  50
 Figure 2.16 Hands.

knee. It is made up of three sets of muscles the tapers gradually to the ankle and foot. The calf
hamstring muscles in the back of the thigh, muscle, the gastrocnemius, is a large muscle;
the quadriceps muscles in the front, and the it has two parts, or “heads,” which create the
adductor muscles on the inside. Like the arm, the diamond shape. The soleus is a smaller, flat
leg tapers from top to bottom. muscle underneath the gastrocnemius muscle.
The heaviness of the thigh is due to the Both the gastrocnemius and the soleus muscles
thick muscles, which must not only provide taper and merge at the base of the calf muscle.
locomotion, but also carry the weight of the When drawing the leg, note the curves of the
body. The knee is a hinged joint that allows leg from the front and back, as well as the
for backward and forward motion. From there profile. The silhouetted lines of the leg are
the leg widens a bit to shape the calf and then never parallel.

Drawing the Male Fashion Figure  51

 front, the ankles appear curved, with the inner
ankle bone higher than the outer.
While all the five toes support the weight
of the body, the big toe is made to carry the
heaviest load. The direction of the foot will
determine the order in which you see the toes.
Viewed from the outside, the small, or baby, toe
will be seen first, with the other toes following.
From the inside or interior side view, the big toe
will be seen first, with the other toes following
in order.
In summary, the fashion figure, as described
here, is based on both the elongated proportions
of fashion art and the classical proportions of
Western fine art. Knowing such proportions are
essential for every fashion artist. This does not
mean that an artist, or designer, cannot vary their
own proportions; the freedom to decide how
to paint or draw a figure is up to the individ-
ual. Ideally, however, an artist should create from
knowledge rather than guessing; to put it another
way, it is easier to stretch or break the rules once
Figure 2.17 The leg and foot.
you know what they are.

The connective tissue at the bottom of the

calf merges into the Achilles tendon.The tibia, or
Drawing the Male Head
shinbone, is the prominent bone in the middle of It’s not always necessary—or even desirable—for
the lower leg. a fashion sketch to be a detailed portrait, but you
must know the proper placement of features on
a head. Few things reveal character, or individu-
THE FOOT
ality, like a face. In most figurative art the head
The foot is essentially a platform that supports the is the focal point, and this is particularly true in
weight of the body, and the easiest way to view fashion illustration. Just as a person’s face might
the foot is as a wedge. The top side is flat and clue us into who they are, the head of a good
forms a slope. The outer side is a long ­triangle fashion figure can show us who, ideally, would
that is flat on the ground, and the inner side has wear such a garment. Moreover, an interesting,
an arch that creates a bridge between the ball of or compelling, face can establish a connection
the foot and the heel. The ankle joins the leg and between the artist and the viewer.
foot together. The heel bone at the back juts out Just as there are landmarks that help us
and forms a separate wedge. Viewed from the remember the placement of sections of the body,

Illustrated Men  52
 Figure 2.18 The foot.

there are ways of observing the proportions of What follows are the basic proportions for the
the head through certain guidelines; keep in adult male head.
mind that while faces vary according to age,
weight, and ethnicity, the placement of the eyes,
BLOCKING IN THE HEAD: THE
nose, ears, and mouth are, with some excep-
FRONT VIEW
tions, universal. Many fashion artists stylize their
heads, creating faces that reflect their own ideas 1. First, draw an egg-shaped sphere, with the
of contemporary beauty. Study these different round part at the top and the narrow end
versions of fashion heads and learn from them. at the bottom. Make sure the oval is not
Once you have mastered the fundamentals, you too thin or too circular. Add a truncated
can explore different ways to stylize the head. column for the neck (only slightly narrower

Drawing the Male Fashion Figure  53

Figure 2.19 Top right:Velicia Gourdin; Bottom right: George Gozum; Bottom middle: Eddie Redmayne by Carlos Aponte;
Middle left: Richard Vyse; Top left: Ejpt by Clifford Faust. Second and third on the right, middle box second row from the bottom
and bottom box on the left are by the author.

Illustrated Men  54
 Figure 2.20 Blocking in the head: front view.

than the width of the oval). Draw horizon- divide the space in half, then divide it in
tal and vertical center lines; these will act as half again.
­guidelines. 2. Draw the brow, nose, lips, and chin in
2. Draw another horizontal line to divide the profile—remember that the eyes, nose,
lower part of the face. Then draw another and ear are in alignment. Indicate the ­hairline.
line dividing that space. 3. Add details and indicate shadows, if any,
3. The mouth is formed on the last hori- under the nose and chin.
zontal line. To determine the width of the
mouth, drop a line down from the inside BLOCKING IN THE HEAD:
of each pupil. The upper lip is somewhat THREE-QUARTER VIEW
thinner, while the lower lip is fuller and
rounder. 1. Draw an egg-shaped oval in a three-quarter
4. The jawline is somewhat square, with the view. Draw a curved vertical center line,
lip line indicating the beginning of the jaw. with the side closest to you making up at
Men typically have a heavier jawline than least two-thirds of the head.
women, and many illustrators exaggerate 2. Divide the face in half horizontally, and
that feature. divide that space in half again; the next
line, which will provide the guideline for
the mouth, lands on the upper third of the
BLOCKING IN THE HEAD: THE remaining bottom.
PROFILE
3. Refine the head by adding first the nose,
1. Draw an egg-shaped oval in profile. Divide
then the eyes, paying careful attention to the
the head in half with a horizontal line, foreshortened eye and lips.

Drawing the Male Fashion Figure  55

Figure 2.21 Blocking in the head: profile.

Figure 2.22 Blocking in the head: three-quarter view.

sary. A head looking down will show a larger

TILTING THE HEAD FORWARD AND
portion of the forehead. The eyes and ears line
BACKWARD
up and become more prominent, and the chin
Draw an egg-shaped oval representing the head. will recede and become smaller.
When the head is viewed from below or above A head that tilts up will force the nose and
eye level, the measuring lines become more the jawline into more prominence. The ears will
curved in shape. The spaces are no longer equal. be lower in relation to the eyes, with the lips and
Here, strict observation of the model is neces- brow becoming more pronounced.

Illustrated Men  56
 In a three-quarter view, the shape of the eye
becomes a long and exaggerated egg-shaped
oval. Though both eyes are similar in appear-
ance, the nearer eye is longer than the farther
one. The profile eye is a simple v-shape, creat-
ing both the upper and lower lid. The pupil
becomes a convex or rounded curve shape fitted
in the v-shape.
A profile view of the eye is perhaps the easi-
est to draw. The eye, foreshortened, becomes a
horizontal v-shape with a narrow convex pupil.
When the eye is open, the lid is folded under.
When the eye is closed, the lid is smooth.
Figure 2.23 Blocking in the head: tilting the head
The eyebrows on a man are generally heavier
forward and backward. and less curved than a woman’s brow.

The nose
THE FEATURES
One way to remember the structure of a nose
The eyes is to think of it as a slim wedge with two sides
From the front, the easiest way to envision the and a top. It protrudes from the face, causing
eye is as an oval, with a heavy dark line slightly shadows under the nostrils, or shadows from
above it registering as the eyebrow. The eye is in one side or another, depending on the direc-
a socket. This eye socket is a bony cup within the tion of the light. The upper, bony part starts
forehead. The eyebrows border the socket and at the bridge, a triangle-shaped flat surface
extend over it. These features protect the eyes. between the eyebrows, and continues to
The upper lid of the eye opens and closes over the mid-eye level. It then narrows, ending about
curved eyeball, while the lower lid rarely moves. halfway down the length of the nose. The rest
The eyeball is oval and consists of the pupil, iris, is made of cartilage. As the nose narrows, it
and cornea, and the sclera, or white of the eye. becomes rounder at the end, becoming a bulb.
When drawing the eye from the front, start with The bulb, or tip, separates into two nostrils
an oval. The upper lid should be drawn as a slight enclosed by wings. The nostrils are seen as two
fold. It should also mask a part of the pupil, so that dark hollows. Most illustrators typically draw
the eye doesn’t appear to be registering shock. one side, merely hinting at the nostrils. What-
The corners of the eye should narrow. Symme- ever the abbreviated or abstracted version
try is important here; an uneven eye or eyebrow of the nose, its relation to both the eyes and
can seem amateurish or just off. Remember that mouth is very important. Obviously, there are
the upper and lower lids are lined with eyelashes, as many different types of noses as there are
which read as dark lines, heavier on the upper lid people, so observation is key. Your rendering
than the lower. The pupils are round but partially of the nose will depend on how realistic, or
covered by the upper lid. stylized and abstract, your approach is.

Drawing the Male Fashion Figure  57

 The Eyes

Figure 2.24 The eyes.

Illustrated Men  58
 The Nose

Figure 2.25 The nose.

Drawing the Male Fashion Figure  59

 The Mouth

Figure 2.26 The mouth.

Illustrated Men  60
The mouth A fashion drawing is meant to translate the
Other than the eyes, the mouth is probably aesthetic viewpoint of the designer or the
the most expressive feature of the face. Pursed customer, so any details that add to that are a
lips can indicate annoyance or pique, while a plus. Think about how the hair looks with the
down-turned mouth might suggest sadness or clothing, both as a graphic element and as an
disapproval.The faces of many fashion figures are accessory to the clothes being drawn. Long hair
limited to one of two expressions: blank hand- might obstruct or hide a garment detail around
someness or cheery self-satisfaction. There is the neck and shoulder; a large afro might inter-
nothing wrong with that, but a face with some fere with the hood on a sweatshirt. Always
character can add to the uniqueness of your consider those choices that would best commu-
drawing. Careful study and experimentation nicate and enhance the style of the garment.
of faces can lend your heads a distinctive look, To begin, remember that the hairline starts
showcasing your individuality as an artist. approximately one-third from the top of the
The shape of the mouth is determined by the head. Typically, there is less hair on the sides
shape of the teeth. The upper lip is divided into of the head. Start by drawing the overall shape
three parts; the lower lip has two. Most upper lips of the hair. Then create a few lines that indi-
project slightly over the lower lip because of the cate the direction and texture of the hair:
natural overbite of the teeth; this is most notice- straight, curly, or kinky? These lines, thick and
able in profile. The shape of the mouth varies thin, should follow the natural outgrowth and
according to age, gender, and ethnicity. Some movement of the hair from the hairline to the
mouths have lips that are fuller, some thinner. Start areas near the ears and neck—too many lines
with a thinner upper lip and suggest a wider and look amateurish, so limit your lines in the
fuller bottom lip as a starting point. Pay particular beginning. Keep in mind that the hair should
attention to the outer ends of the lips; these can be in proportion to the head you have created.
help indicate a range of expressions. For exam- Facial hair—beards, mustaches, goatees, etc.—
ple, when smiling, both corners of the mouth are on the lower half of the face but follow the
are pulled back, with the lips pressed against the same approach: Draw the shape of the hair, and
teeth, lightly elongating the lips. Generally speak- then draw a few lines to show the direction
ing, the male fashion mouth is less defined than its of growth. Next, add shadows and highlights.
female counterpart. A close-up of a male fashion Think of your light source. If the light is above,
face would require more attention to detail than then there will be highlights on the crown of
a full figure sketch, where the emphasis would be the head, and possibly the forehead if there are
on the garment. Most male fashion figures only bangs or a pompadour.
suggest the mouth with a few deft lines. However, Many artists find drawing men’s heads liber-
practice is key: Drawing mouths, either from life ating: Whereas women’s fashion heads are often
or from photographs, is always a good idea. dictated by ever-changing seasonal ideas of beauty,
and thus highly stylized, men’s fashion heads
Drawing hair don’t change as rapidly. Study fashion magazines
As with a live model, a fashion figure’s looks and other media for inspiration. Remember to
can be enhanced by an appropriate hairstyle. think of the head as a three-­dimensional object,

Drawing the Male Fashion Figure  61

Figure 2.27 Drawing hair.

Illustrated Men  62
 Figure 2.28 Planes of the face.

and not a flat mask. It might be helpful to view and authority you want. C ­ haracter lines and
the head as existing in a cube with six sides. facial hair can also aid in defining a man’s face
There is the top of the head, the front, or face, and character.
the back and sides, and then the underside of Experiment by drawing different heads with
the jaw. Drawing the head with an awareness different features and haircuts. Explore different
of projecting planes like those of the forehead, versions of contemporary male beauty as they
nose, cheekbones, and chin, along with light and relate to ethnicity and age—and don’t be limited
shaded areas, will help give your head the depth by realism.

Drawing the Male Fashion Figure  63

Art Supplies: The Tools of an
Artist
Art supplies are the tools that allow the artist to
express what they are trying to say. And, as in
any profession, the right tools are paramount.
Once an artist learns how to use their media,
they can then expand the media to fit their
vision. One must learn the rules before one can
break them. By experimenting with different
mediums, you will discover which ones natu-
rally appeal to you, and which ones don’t.
In Chapters 1 through 3 you will need only
pencils, erasers, newsprint paper or all-purpose
paper, and tracing paper.
First, consider your work area. You will need
a comfortable surface to draw and paint on.
Most illustrators and designers use a drafting,
or drawing, table (easels are used mainly for life
drawing).

•• A drafting table is a multipurpose desk

with a surface that tilts. The best ones are
adjustable and should be able to tilt to an
angle preferred by the artist. Any comfort-
able chair will do, but there are chairs
made especially for drafting tables. These
chairs can change height, lean backward
or forward, and, if they have wheels, they
can move. Your choice of seating will be
determined by the angle of your drawing
table, and what you are willing to spend.
•• Lighting comes next: Be sure to work
in a well-lit area and equip your work-
space with the proper lighting. Popular
among many artists are combination art
lamps. These lamps emit a full spectrum of
light: a combination of warm light (think
Figure 2.29 Art supplies.

Illustrated Men  64
 incandescent) and cool light (fluorescent) waxy mark with a denser, more intense
that color-corrects your work. LED lights hue. When combined with turpentine,
are also popular. As a designer, or illus- they create an interesting buttery smudge
trator, color will be an important part of that is neither pastel nor paint. All pastels
your work: Proper lighting ensures that require a paper with a texture, or tooth,
the color you create will be the actual that allows the pastel to adhere to its
color as printed or presented. surface.
•• Pencils, commonly called “lead” pencils, •• Color pencils are easy to use and carry
are made of graphite. They come in around, making them a perfect medium
gradations that range from H, for hard— for use outdoors. Within the context
usually used in technical drawings—to of fashion drawing, they are often used
B, for the blackness of the mark. The alone, or in conjunction with markers.
gradations range from 9H—very hard; the Colored pencils have a core made of
pencil mark is very light—to 9B, which colored pigment, chalk, wax, and addi-
makes the softest, and darkest, marks. HB, tives and binding agents. They come in
hard and black, lands in the middle of the hard and soft varieties, they work well on
scale. their own or with watercolor and mark-
•• Graphite sticks lack the wood casing ers, and they are great for adding shadows
of regular pencils. A versatile drawing or details to a figure. Color pencils are
medium, and a favorite with art students like graphite pencils but less messy. They
and professionals, graphite comes in come in sets ranging from 12 to 120 or
various degrees of hardness. The harder can be bought individually.
the stick, the lighter the stroke, while •• Watercolor pencils are water-soluble
the softer sticks exhibit a smooth darker colored pencils made with coloring
stroke. Graphite sticks come in flat sticks pigments that stain when they come
and pencils. in contact with water. Drawing with
•• Pastels are an old painting medium, and watercolor pencils is like drawing
although they are like chalk, they are not with regular colored pencils—just
the same. Chalk is made of limestone add wet brushstrokes to dissolve the
or gypsum compressed into sticks. Soft pigments.
pastels are made from mineral pigments, •• China markers, also known as grease
like those used in watercolor, oil paints, pencils or Chinagraphs, are wax pencils
or acrylics, and is combined with gum that were originally developed for use on
tragacanth and water. Pressed into square photographic contact sheets and other
or rounded sticks, pastels create a soft glossy surfaces like glass or plastic; the
powdery mark that is suitable for cover- marks they make are bolder and heavier
ing large areas or producing sharp lines. than regular pencils. China markers are
Oil pastels are made from a non-drying versatile and work well on newsprint and
oil and a wax bonder. They leave a thick all-purpose paper. They are available in

Drawing the Male Fashion Figure  65

 many colors, including black. The down- come with different nibs—fine, medium,
side is that a China marker line cannot be broad, and chiseled; many markers have
erased. at least two nibs. It is often best to buy
•• Charcoal, perhaps the oldest medium, color markers separately, and slowly build
is another alternative. The difference a personal collection that reflects your
between charcoal and graphite is one of own palette, rather than buying a set of
density. Charcoal is dry and somewhat markers with colors you will never use.
brittle, while graphite is oily and slick. It is also best to try out markers before
Natural charcoal sticks have a tonal range purchasing.
from light gray to jet black, depending on •• Drawing pens, also known as techni-
the pressure of the strokes and the density cal pens or drafting pens, are art tools
of the charcoal. It is the easiest medium typically used by architects, engineers,
for creating tones and shading. Wood-­ and illustrators. These pens have needle-
encased charcoal is generally cheaper and point tips in an assortment of widths
less messy. from 0.15 mm to 0.50 mm, making them
•• A pencil sharpener is strongly perfect for detailed line work and fash-
suggested, preferably an electric or ion figure outlines. Some examples on
battery-operated one, though at a pinch a the market are: Rapidograph Technical
small hand sharpener will do. pens, Sakura Pigma Micron pens, Pilot
•• Erasers are a good idea. No one is Drawing pens, Faber-Castell Pitt drawing
perfect, and erasers make life easier by pens, and the Staedtler Pigment Liner.
allowing us to continue a drawing when Another version of the drawing pen is
we’re tempted to throw it away because of the gel pen. A particular favorite is the
a mistake. There are pink, white, and gum white gel pen. These pens have a thick,
erasers for general use, but kneaded eras- opaque ink, much like paint, and are best
ers are especially prized. They don’t leave used for rendering fine details, texture, or
eraser residue, crumbs, or the occasional embellishments against a dark color back-
smear, and can remove pencil lines with- ground.
out tearing the paper. They’re also good •• Watercolors are water-soluble pigments
for creating highlights in heavily penciled in tube or cake form; both types can be
drawings. purchased individually or in sets. For
•• A marker is a type of pen used to create a beginner, Sennelier French Artists’
permanent or semi-permanent marks on Watercolor set and Cotman are a good
paper. Invented in 1952, markers today place to start. The next step up would be
come in a bewildering assortment of Winsor & Newton or M. Graham & Co.
colors. They are affordable and easy to Most artists prefer buying individual tube
use and have become a popular media for paint. Prices vary according to brand and
beginner and professional alike. They can quality. Starting out, you might want to
be purchased individually or in sets, and buy an inexpensive set to experiment

Illustrated Men  66
 with. Later, you may decide to purchase 841 mm or 22 × 34 inches.Your choice
colors separately and build your own set will depend upon the intended use.
of colors. When working with water- All-purpose paper is a good option for
color tubes, you will need a palette (see a variety of media, works well with pencil
below) or mixing dish, a water jar, and and marker, and is usually inexpensive.
(clean) rags or paper towels. Cake sets Newsprint is an off-white paper that is
often have built-in paint wells. Gouache usually used for life drawing and sketch-
paints, also sold in tube and cake form, ing rather than finished illustrations. It,
are an opaque form of watercolor. The too, is very inexpensive. Tracing paper,
opacity of gouache is due to the chalk or a thin translucent paper, is often used to
white pigment that is added to the color redraw or correct work in progress; like
pigment and binding, making it less trans- many of the papers mentioned, it comes
parent. They resemble the poster or finger in pads of various sizes. Vellum is a heavy,
paints used by young children. transparent paper that works well with
•• Drawing inks: Though not as popular a variety of media. Textured paper is
as they once were, drawing inks can be self-explanatory. It includes corrugated
an alternative to watercolor. Fast-drying, boards, embossed papers, mesh, and
water-soluble—but water-resistant—and woven and hand-crafted papers. Tinted
transparent, drawing inks are easy to use. paper is often used with pastel art but
Some inks are opaque and waterproof; can also be used for artwork that requires
these can be difficult to work with, so an extreme contrast of values, like white
choose carefully. Translucent drawing paint on gray paper.
inks can be used with a brush, a pen, or •• Graphite paper, also known as transfer
an airbrush, and their colors often have paper, is used to transfer a drawing onto
a richness and vibrancy that watercolor another drawing surface. It is similar to
does not always have. Many inks are carbon paper, but much cleaner. To use,
water-based with shellac as an additive, so tape your drawing paper onto a firm,
make sure you rinse your brush and pen flat surface, then place a sheet of tracing
thoroughly after use. paper with your rough drawing on top
•• Paper comes in different sizes and of it. Tape it so the rough drawing does
weights. American and European draw- not move. Place the graphite paper—
ing paper sizes are different. A4 paper graphite side down—between the tracing
is an International/European paper size paper and the clean drawing paper, then,
established by the the International applying some pressure, trace your rough
Standards Organization (ISO); it measures image onto the drawing paper. Marker
210 × 297 mm or 8.27 × 11.69 inches. paper is made especially for marker use,
A3 measures 297 × 420 mm or 11 × 17 and is usually slightly see-through. Illus-
inches. A2 measures 420 × 594 mm or tration board is drawing paper mounted
17 × 22 inches, and A1 measures 594 × on both sides of a heavy board, creating a

Drawing the Male Fashion Figure  67

 stiff surface. These boards come in varying tips. They come in a variety of sizes, but
thicknesses and work well with different numbers 6 through 9 are best for figure
media; they come in different colors and painting. Cheap brushes will lose their
are also good for mounting artwork. tapered points and become fuzzy and
•• Watercolor paper is sold in different mop-like; this is less likely to happen
finishes (or surfaces). A hot press surface with more expensive brands. Good
has a smooth, satiny finish which allows brushes are an investment, so keep them
the paint to dry quickly. Cold press has in good condition. Build your brush
a slightly textured finish, in-between a collection slowly, experimenting with
hot press and a rough surface, which has different sizes and effects. Gradually, over
a more prominent tooth, or textured time, you will discover which brushes
surface. Rough paper will hold the water- work best for you. Always keep your
color on its surface, taking a longer time brushes clean. When finished with your
to dry. The thickness of watercolor paper brush, be sure to shake off the excess
is determined by its weight: 90 lb. (190 water and create a point, and let it dry,
gsm), 140 lb. (300 gsm), 260 lb. (356 gsm), brush-side up or on its side.
and 300 lb. (638 gsm). How you paint will •• Palettes: A watercolor palette is a plate
determine the weight of your paper: 90 with several wells for holding and mixing
lb. watercolor paper might be too thin for colors. They come in many sizes and
a very wet approach. For the beginner, types. There are enameled palettes, plastic
an assortment pack of different weights ones, and metal ones. A simple and inex-
and textures might be ideal. For most pensive palette is a porcelain tray known
­designers and illustrators, 140 lb. paper as a butcher’s tray. It’s a good size, and
should suffice. Watercolor paper is sold in because of its finish it is easy to clean.
single sheets, packs, pads, and blocks. As There are also individual cups or small
with all art supplies, prices will vary with bowls that can serve the same purpose.
quality; for the beginner, a less expensive Again, these can be found in any art
paper will work fine. supply store. Make sure that the wells are
•• Brushes: The best watercolor brushes are fairly deep so that they can hold a good
sable. There are many synthetic brushes amount of color or tone wash. A damp
that can work just as well, but sable paper towel over your paints will keep
comes the most highly recommended. them moist.
One might start with sizes #1, #3, #6, •• A Lightbox is an illuminated surface used
and #8. As you progress you may want by artists to trace rough pencil sketches on
a #10, or even some smaller sizes. Keep another drawing surface for the finished
in mind that some brushes are made to illustration. The device is also used to
create loose, flexible lines, while others view photographic films. Lightboxes can
are best for areas of wash. Unlike oil be found in most art supply stores and
brushes, watercolor brushes are defined come in a variety of sizes with corre-
by their slightly rounded or pointed sponding prices.

Illustrated Men  68
REFERENCE FILES valuable resources when you don’t have a live
model and you need an example of how a figure
A reference file, also known as a swipe file, is an would look in a particular pose. A swipe file can
important tool for illustrators and designers; it be a collection of magazine or newspaper clip-
is a curated collection of images that you have pings in different folders, or a digital collection
organized as personal research. You can create on your desktop, in your digital files, or on sites
files for things like poses, faces, coats, pants, and like Instagram or Pinterest.
environments, or for inspiration: other illustra- Men’s fashion magazines like GQ, Esquire, and
tions or paintings, color combinations, fabric L’Uomo Vogue, to name a few, can also be valuable
swatches, or art techniques. Think of your files resources. Not only must you familiarize yourself
as a ready source of information when you need with the latest fashions, but such magazines can
to work on a certain pose or image. Swipes are also be a resource for poses and specific fabrics.

Drawing the Male Fashion Figure  69

 Movement
­3
M
ovement is a bit of a misnomer
when discussing fashion design
The Balance or Center Line
sketches. Since the aim of a design While it may appear counter-intuitive, drawing
drawing is to accurately convey a body that appears to be standing straight is the
the look and proportion of a garment, any exag- first step in creating a figure with a suggestion of
gerated movement—running, jumping, sitting, movement. The key here is balance.
etc.—would distort the lines of the clothing, A balanced figure is one that seems to stand
making a precise assessment of the garment erect and doesn’t look as though it is falling over.
difficult. So, for the purposes of this chapter, by Balance is the subtle distribution of weight that
“movement” I mean the myriad of subtle posi- enables human beings to stand. An aid to finding
tions that give expression to the figure. In this that balance in a figure is the center line, also
chapter I will discuss how to create a figure that called the plumb or “axial line.” This configu-
has a sense of energy even when the figure is ration is an imaginary vertical line that begins at
merely standing. the pit of the neck and lands on the leg and foot
that is supporting the weight of the body. When
the figure is standing erect, the weight is evenly
distributed on both sides of the body; when the
weight shifts, the center line will transfer over
to whichever leg is supporting the weight of
the body. The shifting of weight from one leg
to another will cause one leg to relax, with that
side of the hip dropping down a bit, while the
Figure 3.1 Image courtesy of other leg will straighten, pushing up that side of
Leonard Cadiente. @bycadiente
lcadiente2006@mac.com. the hip.

71
 Figure 3.2a Upper torso in profile.

Illustrated Men  72
Figure 3.2b The mechanics of construction and movement.

Movement  73
Figure 3.3a The plumb line.

When drawing the figure, begin by drawing

a straight line to establish your center front. The
line should be sketched lightly—remember, it is
only a guide. As with all rules, there are excep-
tions: The movements of the arms may affect
the distribution of weight around the center
line, and movement from the upper torso may
obscure your center line. Whether working from
a photograph or a live model, note that the body
is centered on a vertical line for balance, regard-
less of the direction of the model. Figure 3.3b The plumb line.

Illustrated Men  74
Action Lines
Action lines illustrate the direction of the shoul-
ders and hips. Because of the spine, the upper
and lower torso can move independently of one
another. Action lines above the waistline follow
one direction, while below the waist the lines
follow the opposite direction.The subtle t­ wisting
and turning of the torso can give a figure a sense
of movement.When one side is stressed or active,
the other side might be compressed. All of this
is possible because of the spine: The angle of the
shoulders and the hips, and the ability of the body
to twist and bend, is due to its flexibility.
Think of the spine as a rod connecting not
only the upper and lower parts of the torso, but
the head and shoulders as well.Try to imagine the
action lines whenever you look at a fashion figure.

Figure 3.5 Cylindrical forms.

Figure 3.4 Action lines. Figure 3.6 Cylindrical form in a sweater.

Movement  75
Figure 3.7 Contrapposto: Michelangelo’s David.

Illustrated Men  76
CYLINDRICAL FORMS
Any movement of the body will affect the look
of the garment. Even small shifts in the hips or
shoulders will change how a garment appears.
Analyzing and abstracting the figure into a series
of cylinders, or bands of color, will not only help
you to see and draw garment details—collars,
armholes, waistlines, and sleeves—correctly, but
will also aid in conveying the three-dimensional
look of the clothed figure.

Contrapposto
Contrapposto is an Italian word that means coun-
terpoise. A term popularized during the Italian
Renaissance, counterpoise is the standing posi-
tion of the body with the weight on one leg, and
the shift in the body to counter this. As a result,
the figure’s hips and shoulders rest at opposite
angles. Michelangelo’s David is a perfect example
of this stance.
This simple pose is a staple of fashion drawing, Figure 3.8 Contrapposto in a fashion figure.
because it suggests movement, even though the
figure is simply standing. The swing of the hip,
and its weight-bearing leg, will have an upper of models walking that are now available online.
body in counter-swing: The shoulders will tilt. We will discuss drawing from photographs in
Again, search for the center line of gravity. This Chapter 4, but it is easy to see the appeal of these
subtle sense of movement is key in a fashion poses: They are dynamic and contemporary. Still,
drawing. I would not underplay this movement. creating a convincing walking figure requires
In a good fashion drawing, such action would be some thought.
implied by tension lines drawn to suggest fabric Walking is a succession of steps that each
being pulled by the body beneath the garment. involve balance and imbalance. A person walk-
We will examine this further in Chapter 4. ing is actually falling forward with a supporting
leg. A whole range of subtle adjustments
throughout the body are made in order to
Walking Poses move: There is the swinging of the pelvis, the
Walking poses in fashion design sketches and tilt of the shoulders, and even the position of the
illustrations have become more popular recently. head over the weight-bearing foot. When walk-
This is due to the flood of catwalk photographs ing, the body constantly shifts its weight from

Movement  77
 Figure 3.10 Walking.

Figure 3.9 Balance of weight.

Figure 3.11 Renaldo Barnette.

Illustrated Men  78
Figure 3.12 Givenchy Spring 2001: Image courtesy of Eduard Erlikh.

Movement  79
 Figure 3.13 Four Guys Walking: Image courtesy of Richard Haines.

one leg to the other, with the center of balance c­ arefully. One must not only focus on the shape
over the foot touching the ground. Usually, and contour of the figure but also be aware of
in a photo the leg is extended in front of the the dynamic of the muscles being used and
body, with the heel touching the ground. The how they affect the clothing surrounding it.
leg at the back is either pushing off the ground Look closely for the precise angle of the hips
with the toes or it is bent, with the lower leg and shoulders and figure out where the center
foreshortened. The effort to remain upright of gravity is. Remember the plumb line. Only
and balanced while walking causes the arms careful observation can create a correctly drawn
to swing in order to balance the movement of walking figure. A way of abstracting a photo-
the legs. To draw a figure that walks convinc- graph to draw from it will be investigated more
ingly it is necessary to examine the photograph closely in the next chapter.

Illustrated Men  80
 Foreshortening–Sitting–
Bending
Foreshortening refers to the distortion that
happens when we draw a figure from an extreme
point of view. It’s what occurs when we view the
figure, or any object, in perspective. An example
would be a drawing of a man with his right arm
outstretched in front of him, palm up, facing the
viewer. The viewer would see his hand, and it
would appear much larger than his head. Fore-
shortening is rarely seen in fashion illustrations.
As stated earlier, anything that distracts from the
immediate understanding of the garment can
defeat the purpose of the drawing. That said,
there are times when an interesting pose involv-
ing foreshortening can do more for a fashion
drawing than a simple standing figure.The key, as
always, is careful observation.
Foreshortening requires a basic understand-
ing of perspective. This knowledge will allow
the artist to see which parts of the body are
thrust forward and which recede. Using the idea
of transforming the figure into cylindrical shapes
will help make the idea of perspective easier to
understand and draw. Those parts of the subject
nearest to us seem larger than those farther away.
The best way to attempt such a pose is to study
the model intently and draw what you see. You
may need to constantly calibrate the effect of
the body part closest to you, changing its size
Figure 3.14 Hipster in a Parka. Illustration by author.
so that it doesn’t look too forced or extreme.
Keep in mind that this is a fashion drawing. If
the foreshortening is too obvious, it will distract
the viewer, so you may need to modify it. The
key is to create a drawing or illustration that
appears effortless. Anything that calls attention
away from the communication of the garment
is a distraction.

Movement  81
Figure 3.15 Image courtesy of Geoffry Gertz. geoffrygertz.com.

Illustrated Men  82
Figure 3.16 Top right: Bil Donovan; Bottom right: Clifford Faust; Bottom left: Mitchell Van Au; Top left: Author. Clifford
Faust/Mitchell Van Au/Bil Donovan.

Movement  83
 Seated figures are rare in fashion illustra- essential energy of a pose in a way that a longer,
tions, and even rarer in fashion design sketches. more deliberative rendering might not.
Because the bottom half of the figure is distorted The approach is straightforward: Since a
by foreshortening, the viewer cannot get a clear typical pose for a gesture lasts no more than a
impression of the cut and length of the pants. minute or two, there is little time to do more
Nevertheless, a seated figure can convey a wide than outline the proportion and movement of
variety of attitudes and can make an interesting the subject. The technique is simple: Create a
and compelling graphic shape within a compo- few flowing lines, random marks, scribbles, or
sition. In drawing a seated, or bending, figure, it doodles to capture the action of the pose with
is important to remember that the weight of the an economy of line. Step back. See the whole
body is being supported by the buttocks, thighs, model. Put down on paper what you think you
back hands, and elbows. Both the thighs and the see. Gestures are to drawing what barre exercises
buttocks will flatten due to gravity. Since the are to ballet: a way of warming up and forcing the
focus of the figure will be the upper body, care artist to quickly capture the essence of a model’s
must be taken to make sure the head is drawn pose. This exercise is an important tool to loosen
in proportion to the shoulders and upper torso. up anyone who is used to using a pencil only
Even when drawing a sitting pose, you must think for writing. While gestures are more often used
carefully about the center line of balance and the with a live model, they can still be useful when
distribution of weight. The lower torso will be drawing from a photograph. You only have to
foreshortened, so a focused study of perspective capture the movement of the model with a few
and how the legs look in relation to the rest of free-flowing lines to get started. Spontaneity and
the body is key. concentration are all. It is also a way to challenge
preconceived ideas of what a preliminary draw-
ing should look like.
Gestures
Before the invention of the high-speed camera
and film, artists had to closely observe the quick
movements of their subjects to capture how they
walked, ran, jumped, or stretched.To record these
actions, artists developed a kind of shorthand
called gesture drawing. These sketches were
a quick record of an action that would later be
more fully developed in a finished illustration or
painting.The point was to find the essence of the
pose, to capture the feel of the model, in just a few
lines. Today, the camera is an important tool for
an artist, and, while helpful in capturing move-
ment, the tradition of gesture drawing endures,
because a good gesture drawing can capture the Figure 3.17 Gestures with wash.

Illustrated Men  84
 Figure 3.18 Gestures.

the design development process. It organizes and

Direct Sketching archives design concepts and shows a prospec-
Fashion designers have sketchbooks; these jour- tive employer how one thinks creatively. Because
nals, or visual diaries, enable them to sketch ideas such books reflect the style and personality of the
for collections, garment construction, or just an designer, they tend to vary in size and presentation.
ad hoc collection of color and fabric. They are a Artists have sketchbooks too, but their books are
valuable tool for a designer, a way of thinking on a way of liberating themselves from the bounda-
paper. A sketchbook serves as a visual record of ries of the classroom or studio. Drawing from life

Movement  85
forces the artist to record, in just a few lines, what used by fashion designers and illustrators
he, or she, sees around them. It trains the eye and because the object being sketched is always a
forces one to quickly put down, in as few lines as garment. A croquis, a French word, is a quick
possible, what is of interest. It requires observa- sketch of an item that will be drawn more care-
tion, speed, and knowing what to put down and, fully later. Because of this, it is necessary to draw
perhaps more importantly, what to leave out. It accurately, observing and notating, so that one
is one of the best ways to improve your drawing. can redraw the garment with confidence. That
Both books are important to have. Because neither means adding details like the right number
sketchbook is meant for publication, artists and of buttons and buttonholes, the length of the
designers are free to scribble whatever they like. sleeves and seams. Note, too, the exact size and
Go where you might be inspired or find inter- fit of the collar and lapels, and any other features
esting subjects: the subway, the park, restaurants, unique to the garment. Adding brief writ-
even department store windows—wherever there ten notes about the cut, fabric, color, and trim
are people. Don’t burden yourself by attempting (belts, pockets, zippers, etc.) is also helpful. Typi-
a “finished” drawing. Whether you are a designer cally, the garment being sketched is flat or on a
or illustrator, try to create sketches that stretch mannequin; however, there might be occasions
your technique and stimulate new ways of seeing when you can sketch a garment on a model. In
and approaching the figure. that case, you might use the same pose later in
your finished drawing, so strict observation is
a must. Once you have completed the sketch,
go back for a second look and check to make
The Croquis sure you are as accurate as possible. Only then
A croquis (pronounced “croakee”) is another can you use these sketches as an aid for finished
version of direct sketching. It is a term generally drawings later.

Figure 3.19 Image courtesy of Renaldo Barnette.

Illustrated Men  86
Figure 3.20 Image courtesy of Renaldo Barnette.

Movement  87
 Drawing the Clothed Figure:
­4
Creating Dimension
To draw something is to try to understand
Line and Contour it, and few things are more difficult to compre-
Shape, form, space, texture, value, color, and line. hend than the human body. The figure, after all,
These elements of art are a kind of vocabulary, is a person. While we all know what a person
one that helps artists to both create and describe looks like, putting that likeness on paper can be
art: And line is perhaps the oldest, if not the most very challenging. Sometimes the subject is a live
important, of these elements. From the ancient model, sometimes the figure is in a photograph.
Paleolithic cave drawings in Lascaux, France, to But in all cases, one is faced with a wealth of
the pen tool drawings of today’s digital art, line information: There is the hair, the mouth, the
continues to help us describe the world around waist, the legs, a nose, shoulders, seams, and shad-
us. Lines can have width, direction, texture, or ows. The list of characteristics goes on and on.
force. They can be thick or thin, solid or fluid, Where does one begin?
delicate or harsh, curved or zigzagged. A line We begin by abstracting the body. All images
can be descriptive or abstract, and it can be both. are abstractions, after all: A drawing is merely
Line is as fundamental to art, to drawing, as color a record of our perceptions of the subject, not
is to paint, so we begin this chapter by exploring the actual subject itself. But here we’re going
how to observe and draw the figure with line. to abstract, or deconstruct, the figure further
by simplifying, in line, the figure before us. Paul
Klee once said, “A line is a dot that went for a
Figure 4.1 Illustration by Rosario walk.” In this chapter we will winnow the figure
Catrimini/Toulemonde. Illustration down to a manageable and easy-to-understand
by Author.

89
Figure 4.2 Image courtesy of Carlos Aponte.

Illustrated Men  90
size. We start by drawing the form with a pencil, shoulders, center line, hips, arms, and legs. Then
defining in a simple line, as accurately as we begin by using your pencil as an extension of
can, the entire figure from top to bottom. This your finger, tracing the outside of the model.
is called contour drawing. Contour is a French (2) Start at the center of the head, working
word meaning outline. Think of this exercise as one side and then another, and back again. Try
drawing a shadow in line: a way of conveying a
three-dimensional figure in line without details.
It is, in a sense, the drawing equivalent of “baby
steps.” By avoiding the more complicated aspects
of the figure, and focusing on just the outline of
the form, we can establish the height and width
of the subject. Everything else is ignored. There
is no inner drawing, just an outline.
This exercise is important because it increases
your focusing skills and strengthens hand and
eye coordination; this in turn helps you to draw
more accurately what you see, instead of what
you think you see. By paying particular atten-
tion to those negative shapes that are created
by, say, a hand on a hip, or the space between
the legs, we can slowly develop not only a Figure 4.3a Shape Within Shape.
more accurate drawing of an individual, but
also a better understanding of the figure as a
whole. The focus is on the overall view of the
subject rather than details. There are no abso-
lutely straight lines in nature. If you are carefully
observing the model, or photograph, that will
become obvious. In fact, one might argue that
the only straight lines that exist are in technical
drawings. It is the fluidity, deviance, and char-
acter of your line that will create an effective
illusion in your drawing.

Directions
(1) Study the figure in the photograph. The pose
is simple, and easy to understand. If you feel unsure
about the proportions, you may, very lightly, draw
a few guidelines, mapping out the angle of the Figure 4.3b Contour drawing.

Drawing the Clothed Figure: Creating Dimension  91

drawing every bump, wrinkle, and crevice you movement. Each of those topics, together with
see. You might discover that this is more diffi- the exercises of this chapter, should inform all
cult than it looks. That is because to accurately your drawings and help to create better fashion
record the silhouette, you must continuously figures.
measure height against width, observing curves,
straight lines, and negative shapes. (3) Using your
pencil, measure height against width, constantly ­Directions
comparing your drawing with the photograph. (1) Take a few moments to fully examine the
This restrictive exercise will force you to really model—observation is key here. Really look
look at the figure, all the while concentrating on at the figure. Notice the many parts that make
the edges of the model. up the figure and try to mentally break up the
model into different sections. At the end of the
exercise, your drawing should resemble a paint-
Shape Within Shape by-numbers page. (2) Using a pencil, determine
The next exercise is a more complicated version the height of the figure, then lightly draw the
of contour drawing; it is called Shape Within center line and the balancing lines that help
Shape. A common problem among beginning to define the angles of the shoulders and hips.
artists is their habit of drawing what they think (3) Begin the drawing by starting at the top
they see, instead of drawing what is in front of of the head. Draw the shape of the hair as one
them. In other words, their preconceptions of enclosed shape. Then draw the face and neck
what a subject looks like often negatively affect as one enclosed shape, then the shape of the
their ability to observe accurately. This exer- model’s T-shirt as another shape, then the legs
cise not only focuses on the shapes that exist and arms. Be sure to close each shape before
within the outlined figure; it also helps the moving on. Pay particular attention to the nega-
artist see the figure without too much subjec- tive shapes that are created by the arms and
tive distortion. By deconstructing and mapping legs. The purpose of this exercise is to force
the figure into a series of recognizable shapes, you to look, and to select those shapes that best
we can begin to build a fashion figure from top communicate what you see.
to bottom. For example, the hair, the shirt, the Drawing is mark-making, and every mark
jacket, and the pants of the figure will each be helps to describe the thing you’re drawing.
rendered as enclosed shapes. Constantly meas- Make sure every line serves a purpose. Never
uring height against width—using a pencil as a use three lines when one line will do, and strive
rule of measurement—you must make sure that for accuracy. The purpose of these exercises
the shapes you put down are related in size and is to develop your ability to see a figure in its
scale to the other shapes you have created. Be disparate parts, and not be intimidated or over-
sure to close each shape before you go on to the whelmed by the whole figure. In other words,
next, so that by the end your drawing looks like only by strict observation can you ignore your
a coloring book figure. In the previous chapters preconceptions and focus on what is actually in
we discussed proportion, anatomy, balance, and front of you.

Illustrated Men  92
 Mass
­ ass drawings in the wider art world are typi-
M
cally done in charcoal and are meant to represent
the tonal values and solidity of a subject without
line. Mass, within the context of this drawing
exercise, refers to a figure rendered in tone or
color without lines or edges. Again, the aim is
to capture the form you see in front of you and
not to rely on preconceived ideas of what you
think the model is doing. It might be helpful to
think of a figure rendered like this as a kind of
shadow on paper. By using mass in this way, we
Figure 4.4a Shape Within Shape.
are continuing to deconstruct the figure in terms
of tonal shape. So far, we have examined the
figure through line; now we are using the overall
shape of the model as another way of simplifying
the overwhelming information of the model. All
the subtle curves, dips, crevices, and straight lines
that you discovered in the previous exercise will
now be translated into pure tone. Once you have
completed the exercise, the next assignment will
be to combine mass and line.

Directions
(1) Select photographs of three or four standing
figures. Draw the figures on a horizontal
page. Making sure that all the figures have
the exact same proportion, create several
figures in color marker using one tone to
create a page of standing figures.
(2) Starting with a very light tonal shape; when
finished, go over the sketch again, this time
Figure 4.4b An example of Shape Within Shape. using different tones or colors for different
parts of the body. Each of these individual
shapes will look different, but when they’re
combined they will coalesce into a multi-
tone figure.
(3) Combining mass and line.

Drawing the Clothed Figure: Creating Dimension  93

­Figure 4.5 Mass. Figure 4.6 Illustration by author.

Combining Shape Within

Shape and Mass
Combining Shape Within Shape and mass is
the way most figurative artists paint. In a mass
drawing or painting you’re describing the figure
through tone, or color, abstracting the figure by
creating blocks of color. While for this exercise
we will be using marker, one could just as easily
use gouache, pastels, or even Photoshop.

Line Quality
Our focus up to this point has been how to confi-
dently draw a male fashion figure. The exercises
we have covered are the first step in bringing
together all the necessary elements that would
help bring that about: proportion, a­natomy, Figure 4.7 Image courtesy of George Gozum.

Illustrated Men  94
Figure 4.8

Figure 4.10 Finished marker figures using Shape Within

Shape technique.

balance, and shape. Still, when talking about line,

it’s worth mentioning how line should also be
an expression of an artist’s reaction to his subject.
This is where line quality comes in. Line qual-
ity is a term heard often in fashion drawing. A
good line drawing is one that exhibits a mix of
draftsmanship, variety, character, and sensitiv-
Figure 4.9 Example: Marker mass drawings. ity. It is often a spontaneous result of an artist
responding to a live model. In short, line qual-
ity has personality. Pressing hard on the pencil

Drawing the Clothed Figure: Creating Dimension  95

 Figure 4.11 Image courtesy of Bill Rancitelli.

will create a bold line that might convey a heavy That means thinking about what the lines are
fabric, or a shadow. A fine line from a brush, meant to represent in your drawing: softness or
a marker, or a digital program might suggest bluntness, solidity or fragility, emphasis or mini-
transparency or simplicity—you decide. It is mization, or perhaps some combination of all of
not always possible, particularly when drawing the above. Again, every mark you make should
from a photograph, to demonstrate such nuance; help to make clear what you mean to say.
nevertheless, one should try to imbue one’s The basic exercises that we have discussed
drawings with the kind of thought, commitment, so far will help you to create better and more
and energy that helps to create a good drawing. nuanced fashion figures.

Illustrated Men  96
Figure 4.12 George Gozum, untitled drawing—2018.

Figure 4.14 Richard Vyse.

Shadows and Tension Lines,

Wrinkles, Folds, and Draping
Typically, shadows in a fashion illustration,
and particularly in a design sketch, are kept to
a minimum. Even in an illustration, too much
ambiguity can make seeing the garment difficult.
Figure 4.13 Image courtesy of Gary Kaye. Gary Kaye/ After all, the purpose of a fashion drawing is to
garykayeillustrations.com. explain and provoke interest, not to obscure or

Drawing the Clothed Figure: Creating Dimension  97

 hide. Nevertheless, there is still a place for selec-
tively exaggerating dark and light values, to say
nothing of adding subtle tonal changes, in a
figure. It all depends on what the artist envisions,
and what best highlights the salient features of
the garment.
Shadows and highlights will look differ-
ent depending on the fabric of a garment. For
instance, the surface look of leather will be differ-
ent than the shadows and highlights of velvet and
wool. These differences will be explored later, in
Chapter 6. But there are certain general ideas
regarding shadows that can be examined now.
What, for instance, is a tone?
A tone is the degree of value between
light and dark. All colors have a value that
can be brightened or darkened. When choos-
ing a color to illustrate, most artists will select
a medium tone to begin with. As the sketch
develops, they can gradually add a darker tone
of the color to the drawing—say, a darker shade
of blue to a blue tone—or they may add a dark
gray or even black to emphasize a shadow. Later
Figure 4.15a Image courtesy of Leonard Cadiente. still, they might leave the white of the paper
@bycadiente. exposed, or add white highlights to mimic the
sheen of the fabric. Shadows and light cannot
be separated from one another: the brighter
the light, often the darker the shadow. This is
particularly true of highly reflective fabrics like
leather and silk.

Light Sources
Most of the light in fashion drawings is limited
to four sources: light from above—ceiling lights
or the sun—or lighting from the front, the left,
or the right. As an artist and designer, you will
decide the direction of the light source. Keep it
Figure 4.15b Image courtesy of Leonard Cadiente.
@bycadiente. simple. A simple light source is often all you will

Illustrated Men  98
 Shadow

Light

Shadow

Contour & mass Contour & mass

(shape) Line & shadow

Figure 4.16 Shadows and tension lines, etc.

need. Especially when drawing several figures on

a page—say, a spread or design collection—keep
Folds and Tension Lines
the light source consistent for all your figures, A garment on a hanger looks different from a
whether from above, the left, or the right. garment on an actual body. A garment can even
When drawing men’s garments, there will look different depending on how a figure stands
almost always be shadows in certain places: under or sits. Folds in a drawing help to explain what the
a hat or hood, under a lapel or collar, at the body is doing beneath the clothes. One cannot
bottom of a jacket or coat, or when something accurately draw clothing on a figure without, in
is covered by another garment. Sometimes, the some way, indicating folds and tension lines. Not
shadows that a menswear illustrator or designer only do these lines suggest the body beneath
creates have more to do with suggesting the body the clothes, but they also help to explain the
beneath the clothes than with lighting, which shape and structure of the garment. It might be
leads us to our next subject: folds and drapery. easier to understand wrinkles and folds if we see

Drawing the Clothed Figure: Creating Dimension  99

 example, let’s say there are two identical suits;
the shoulders are padded, the sleeves precisely
set in, and the pants exactly measured, cut, and
draped. However, depending upon the fabrics
used, the two suits might look very different.
That is because the folds and wrinkles will take
on different forms depending on the texture and
weight of the material. In short, the look and size
of the folds are determined by how heavy the
fabric is and what kind of material it is made of.
A thin fabric like cotton jersey will have smaller
folds, which will cause the material to bunch
up. A thicker fabric like cotton velour will have
fewer but larger folds. Hard, thin material like
polished cotton, or canvas, will create stiffer and
more angular wrinkles. Gravity will also affect
the way a garment hangs on the body: Fabric
weight, texture, volume, and length can alter the
look of a garment on the figure.
The areas that typically have the most wrinkles
are those areas where the fabric is being bunched,
pinched, compressed, or pulled. Those areas on
the figure would be the armpits, the elbows, the
crotch, the knees, and the ankles. So depending
upon the area of the body, the folds will have
their own particular look. An example would be
pinched folds in a shirt fanning out from the pinch
point of the armpit.
Figure 4.17 Folds and tension lines: Image courtesy of A compressed fold would be the fabric being
Ryan McMenamy. compressed under a bent arm, or leg, in denim.
Another type of fold would be a spiral. We can
see the spiral fold of a sweater, or shirt sleeve,
them as shapes that form hills and valleys. Try to when it is pushed up. The bulky folds at the
imagine folds as the tops of hills that catch the knees of a pair of jeans have a soft zigzag qual-
light from above, while the valleys below are in ity when the figure is standing. They look like
shadow. These hills and valleys vary according to that because the fabric was pulled and stretched
the height and width of the material. whenever the figure was moving or sitting, and
Clothes are sort of a second skin, and when the fabric is relaxed, it sags. Learning to
men’s garments, tailored suits in particular, see wrinkles as an aid in describing a three-­
are constructed to create a certain shape. For dimensional figure can only help your drawings,

Illustrated Men  100
 Spiral folds
occur when
the fabric of a Thinned fabric
shirt or will have
sweater smaller folds
sleeve is that bunch
pushed up
up.

Lines showing Gather lines

fabric at the waist
hanging from
the chest
Thicker fabric
will have
few but
heavier folds
Fabric
sag at
the knees

Lines made
by the knee
pushing
against the Excess
fabric fabric pooling
over the tops of
the shoes

Figure 4.18 Folds and tension lines.

Drawing the Clothed Figure: Creating Dimension  101

but editing is a must. Too few wrinkles and folds TENSION LINES
and the figure will look like a stiff cardboard
cutout, too many wrinkles and the man will Within the context of this book, tension lines
look as though he slept in his clothes. Learn to are folds in the fabric that are being dramatically
see which few lines and folds will help describe pulled and twisted by the body. On a loose-fitting
the body beneath the fabric, and use such lines T-shirt, the folds of the material will fall verti-
sparingly. And most importantly, remember: Any cally because the excess cloth is being pulled by
movement of the body will change the look gravity. However, on someone wearing a tight
of a garment. The closer the fit of a garment, T-shirt, the folds of the cloth will be horizontal
the greater the effect the body will have on the because the fabric is being pulled or stretched
garment. across the body. These are tension lines. They are
spare lines that emphasize the pull and direction
of the material on the body. Used properly, they
can help describe and underscore the movement
of the body under the garment, even in tailored
or heavier fabrics.

Pinch folds from the

fabric compress
at the armpit

Fabric pooling at
the waist
T-shirt: Slight tension lines
Tension lines made at the crotch
by the body pulling
the fabric of
the T-shirt Tension lines caused
by the knee pushing
the fabric

Figure 4.19 Folds and tension lines. Figure 4.20 Tension lines.

Illustrated Men  102
Figure 4.21 Folds and tension lines.

Drawing the Clothed Figure: Creating Dimension  103

DRAPE
Draping is the way a fabric falls, or hangs, creat-
ing loose soft folds. This is the result of gravity.
When cloth is draped, gravity will cause the
fabric to bend, curve, and fold, flowing from
one point to another. The size and heft of the
folds will depend on the weight and texture of
the fabric, and how it is manipulated. Though
drapery is often seen in women’s evening wear,
it has long been a part of the history of mens-
wear. Some past and current examples include
the ancient Roman toga, the Southeast Asian
sarong, and the Indian sari. Whether you are

Figure 4.23 Drape.

Figure 4.22 Drape.

Figure 4.24 Drape.

Illustrated Men  104
drawing drapery or folds, it is important to begin
with the basic shape of the figure or garment.
How to See and Draw from a
Working from a photograph or live model, look Live Model, Photograph, or
hard at the shapes and shadows in front of you. Template
Be aware of the direction of the light source, and
then start by lightly drawing the areas of light DRAWING FROM A LIVE MODEL
and dark. Notice the curvature of the folds and When drawing from a live model, one must try
slowly build the tone of your shadows. Notice, to overcome two things: one’s preconceptions
too, the reflected light, and how close it is to the about what one thinks and sees, and the n ­ atural
darkest shadows. fears and inhibitions concerning one’s lack of
Line quality will also be important. A heavy skill. There is always a gap between the art we
fabric like wool might need a thicker line to see around us, and the work we produce. At such
suggest shadow and weight, while a lighter fabric times we always suffer by comparison. Try to
like silk could be represented by a thinner line. remember that all artists were once beginners.
Again, the look of the folds will depend on the One learns to draw by drawing, and observation
fabric, lighting, and position of the body. and perseverance are the key. Look, and look
again, try and try again. While few, if any, of your
model drawings may be suitable for a portfolio
presentation, the skills you develop through the
practice, such as sustained concentration, obser-
vation, and problem solving, will contribute
hugely to your draftsmanship.
Up to this point we’ve been carefully plan-
ning, step by step, how to approach and draw a
male fashion figure.We discussed, in earlier chap-
ters, the ideas of proportion, anatomy, balance,
shape, and line. Each exercise has been, in a
sense, another component in building a fashion
figure. Now, informed by these concepts, one
should be able to begin a drawing with some
degree of confidence. As with all skills, repeti-
tion, practice, discipline, and patience will shape
and refine your growth. Drawing from a model
is an invaluable way of learning how to draw
the figure.
Fashion illustration models, unlike magazine
or runway models, come in all shapes and sizes.
Traditionally, fashion models had to have certain
proportions: They had to be tall, slim, and young.
Figure 4.25 Illustration by Bill Rancitelli. But while that may still be an industry standard,

Drawing the Clothed Figure: Creating Dimension  105

Figure 4.26 Jose Gonzalez in NY—2019. Image Courtesy of George Gozum.

Illustrated Men  106
it’s no longer the default choice. You can now minutes are usually devoted to 10 two-minute
choose a model that better fits a client’s aesthetic, poses for gestures.The next twenty minutes would
or one that reflects your own taste and vision. be 4 five-minute poses. The rest of the session
We are fast approaching a fashion world that would then contain ten- and twenty-minute
embraces a wide spectrum of beauty, regardless poses. It is helpful at the start of a session to have
of age, ethnicity, or body size. Character and style, the model wear tank tops and shorts, or other
and the ability to hold a pose, will always make body-revealing clothing, so one can more easily
up for a lack in ideal proportions. The important see the muscles and proportion of the model.
thing is to find a model who inspires you to draw This is particularly true for gestures, but it is also
the figure with confidence and skill. To that end, useful when you have a complicated pose involv-
finding a model with whom you share a rapport ing layers of clothing that might obscure the body.
can be extremely rewarding. If you can’t hire a Having a clearer idea of what the body is doing
model because of the expense, try forming your beneath the garment can only aid in the drawing
own group.You can then pool your resources to of the clothed figure. You might have the model
hire a model, or ask a friend to model for you take a pose with a minimal amount of clothing, so
for free in exchange for a sketch. Most fashion you can see more clearly the muscles and stance of
design programs have drawing classes with live the figure, and then have the model take the same
models, and many schools even have drop-in pose wearing clothing.
drawing sessions. The important thing is to
continue practicing.
Professional models typically pose at
twenty-minute intervals with five-minute breaks
in-between. In a two-hour session the first twenty

Figure 4.27 How to draw from a live model. Figure 4.28 How to draw from a live model: Close-up.

Drawing the Clothed Figure: Creating Dimension  107

 Varying your model types, from slim and Measure the head against the width and length
plus-size to young and older, is a good idea. of the shoulders, torso, arms, and legs. Make sure
Experimenting with different figure types can the elbows are level with the waist and the wrist
only help in your development as a fashion is level with the groin. Make sure the figure is
artist. Keep in mind that in the beginning phase standing upright by taking your pencil and find-
of learning how to draw your aim is to be as ing the plumb line from the pit of the neck to
faithful to the model as possible. However, as you the foot supporting the weight of the body. You
develop more confidence and skill, you will learn have now created a kind of skeleton, one that will
to “reinvent” the model you are drawing, creating form the basis for your drawing.You can now use
the ideal fashion figure you have in your head. the Shape Within Shape method to flesh out the
This usually means focusing on those aspects of figure. Starting at the top of the head, draw the
the model you find compelling and downplay- shape of the hair, the shape of the face and neck,
ing other parts. That’s natural: It’s called artistic the enclosed shape of the shirt, and so on. Once
license, and it is in some ways the very definition you’ve completed the figure, finish the drawing
of what constitutes a fashion drawing. Absolute by adding the wrinkles, stress lines, and details—
realism in a fashion drawing can be limiting and seams, buttons, etc.—of the garment.
undesirable. A good fashion drawing involves a There will be times when your drawings will
fair amount of editing, taking out certain things not be completed by the end of the pose. In
and accentuating others. Think of your drawing such cases you can have the model take the pose
as an interpretation of what you see, instead of an again, after a break, or use the unfinished draw-
exact record of the person. ing as a preliminary piece for another drawing.
Start the process in an area, a studio or class- It is also likely that there will be corrections,
room, with good lighting and a raised platform erasures, and repetitions on the page. That is not
that elevates the model to just above eye level. unusual; in fact it’s completely normal. Many
A space where the model can change clothes artists have deliberately left such corrections
privately is a good idea. A tilted desk or draw- in their drawings. These recorded mistakes are
ing board that allows you to take in both your known as pentimenti, Italian for “repentance.”
page and the model in a single glance is a must. They exist as a visual reminder of your thought
As for materials, choose inexpensive newsprint process. They are meant to be a part of the crea-
pads, or all-purpose paper, in a size that you find tive process. Don’t obsess about being finished
comfortable; 14” × 17” is a good size. Drawing or detailed. Every drawing should be, in a sense,
pencils such as soft graphite (6B), charcoal, or an experiment. You can always use your draw-
4B or higher drawing pencils are ideal. With a ings as a basis for more finished illustrations. But
live model, begin by establishing the proportions above all, use these sessions as an opportunity to
of the model with a few light pencil lines. Start learn more about yourself and the art of figure
with the height of the figure—some nine heads drawing. That would also include nude figure
high—and then mark off the anatomical land- drawing. Fashion drawing with a live model
marks that will help you to accurately describe entails not only drawing what you see, but also
the body, the head and neck, the upper and lower subtly changing the look and proportions of the
torso, legs, and then arms. Mark off the center line. model to conform to the current ideal.

Illustrated Men  108
Figure 4.29 How to draw from a live model: Ridge gestures.

Drawing the Clothed Figure: Creating Dimension  109

 Drawing a nude model in a life-drawing class doesn’t mimic a coldly clinical diagram. They
forces us to look more intently at the human must portray a fashionable figure in an appeal-
body without the artifice of fashion. Whether ing way. So, how does one go from a rigorously
you are drawing a fashion figure or a nude live accurate drawing to a fabulous and captivating
model, you are exercising a kind of exploration, fashion illustration? In a word, exaggeration.
a way of recording not only the subject in front To exaggerate something is to magnify and
of you, but also your idiosyncratic and individ- emphasize it. In this context it is to reinterpret
ual reactions to the model. an article of clothing, making it more attractive,
and more compelling, by exaggerating a sali-
ent aspect of the outfit, or figure, for dramatic
­E XAGGERATION IN FASHION ART
effect. That might mean creating unconventional
The previous chapters have focused on the figures and garment proportions, or it might
mechanics of drawing, how to see the figure, and mean artwork that is more highly stylized and
how to put it on paper. However, simply drawing experimental. Your choice of media or pose will
a figure accurately does not make a good fashion no doubt be considered, but simply recording
illustration. Understanding the complex nature the facts of a garment will not be enough for a
of drawing, the need for strict observation, tech- good fashion drawing. That is because exagger-
nique, and skill, is merely one aspect of fashion ation is a large part of fashion. Knowing what
drawing; there’s also your personal reaction to to exaggerate or highlight can be the difference
what you are looking at, and how you choose between an image of someone merely wearing
to record and express your reaction. A drawing clothing, and someone wearing fashion. The
is a vehicle of communication, so as a fashion difference may be a subtle one, but to the trained
designer your drawing will explain something eye it is the ­difference between an amateur and a
about the garment you hope to create, just as a professional. One of the easiest ways to improve a
fashion illustrator will describe their reaction to fashion figure is by exaggerating contrasts, either
a finished garment. These drawings must depict of line, texture, shapes, or proportions. Here are
specific clothing, and yet do so in a way that several examples.

Illustrated Men  110
Figure 4.30 Exaggeration in fashion art—Robert
Figure 4.31 Exaggeration in fashion art.
Melendez. Images courtesy of Fashion Institute of
Technology SUNY FIT Library of Special Collections
and College Archives.

Drawing the Clothed Figure: Creating Dimension  111

Figure 4.32 Exaggeration in fashion art—Cody Cannon. Figure 4.33 Exaggeration in fashion art—Carlos Aponte.

our education that polishes and refines what is

DEVELOPING A KNOWLEDGE OF
innate. And by education, I don’t mean just what
FASHION
we learn in school, but also what we choose
Developing one’s imagination is central to an to seek out in art and fashion. Museums, art
artist; it is, in fact, a never-ending process. Not galleries, and fashion shows are crucial sources
only do we look around us, but we also look of inspiration; so are fashion publications, digi-
inside of us. Like everyone else, that means we’re tal magazines, Instagram, and other online sites.
constantly being influenced by the world around For fashion designers or illustrators, these can not
us, and our reaction to what we see and hear. only keep them informed but can also inspire
The difference is that we record our reactions and influence. Being influenced by artists you
through art. We may start with talent, but it is admire is right and natural, if such inspiration

Illustrated Men  112
doesn’t descend into plagiarism. But even then, how to look at a photo, and how to then trans-
your education does not end. In short, to create a late it into a drawing.
good fashion illustration, one must know some- First, find a photograph that is easy to under-
thing about fashion. Reading books on fashion stand.You should be able to quickly see the angle
designers and fashion artists and familiarizing of the shoulders and hips, which leg is bearing
yourself with the history of fashion can only the weight of the body, and the relative propor-
increase your understanding of your profession. tions of the figure. Choose an image with a
A measure of curiosity, in all things, is essen- head-to-toe figure. Make sure the photograph is
tial, but critical thinking is a must. What are taken slightly straight on, or slightly above, and
the trends in menswear? What is THE look in avoid exaggerated and distorted images due to a
current male fashion? How do the current social forced perspective. Using a sheet of tracing paper,
and political movements inform menswear, if at trace with a pencil over the photograph using
all? What is the current relationship between art the Shape Within Shape method. This mapping
and fashion? If you can talk intelligently about technique will force you to see only the shapes
fashion, then your opinion becomes an informed of the posed figure without the distracting details
and authoritative opinion, one that can then be of hair, folds, shadows, and clothing. However,
translated into your art and design. Sensibility do NOT trace the photograph and use that as
and awareness, married with skill, are what makes a drawing. Your objective is to reinterpret the
a successful fashion illustration. photograph as a stylized fashion figure, not to
slavishly copy it. A traced figure will not only
look amateurish and out of proportion; it will
DRAWING FROM A PHOTOGRAPH
also look like ... a tracing. So, use the tracing only
Photographs are curated images. They are as a guide to help you clearly see the relative
pictures in which the decisions about the subject shapes that the model makes.
matter: Lighting, clothing, color, environment, Setting both the photograph and your finished
and theme have already been decided. In other tracing off to the side, you can begin your draw-
words, what we’re looking at in a fashion photo- ing as you would with a live model, using both
graph is a set of secondhand perceptions made the photograph and the tracing as a guide. The
by a fashion editor, a photographer, and a team tracing should help you see the different shapes
of professionals. This is why most artists, and art of the figure so you can more closely draw what
schools, prize live drawing with a model over is in the photo. The photo will give you all the
photography. Since all drawing is a form of details that you will need to further describe the
seeing, drawing from life is a way of developing garment. You will then lightly sketch a skeleton
your own distinctive way of expressing what you of the figure in the photo, before drawing the
see. Fashion drawing is no exception. figure using the Shape Within Shape method.
Nevertheless, almost every fashion artist Remember to think about proportion, and
and designer has, at one time or another, used where to lengthen the figure. Using the photo
a photograph as a reference source. And since as the basis for your design sketch, you can now
many designers and illustrators rarely have a change or alter the garment to resemble more
model to draw from, it is important to know closely what you have in mind. Later, add details

Drawing the Clothed Figure: Creating Dimension  113

 Figure 4.34 Drawing from a photograph.

Illustrated Men  114
like shadows, wrinkles, and garment details to that will be less elongated and much more realis-
further enhance your drawing. Remember to tic (an example of that type of flat can be found
edit your drawings: Better too few lines than in Chapter 6).
too many. ­ (2) A template for a working fashion design
Note: When working from a photograph, sketch will have the typical “nine heads” look.
remember to consider whether the image is Start with the head. Once you have the head and
copyrighted or is royalty-free. When using a the neck, draw the plumb or center line. This
photo from a website, and particularly if your should start at the base of the neck and end at
image will be published, it is a good idea to the bottom of the feet. If your figure is balanced
change the image so that it bears no resemblance and standing straight, the plumb line should end
to the original. between the feet. If you like, you can use a ruler
to measure off the major landmarks. Using the
examples shown here, redraw the figure, changing
DRAWING ON A TEMPLATE
the proportions—or keeping them—as you see
Templates are very popular with some design- fit. Depending upon your personal taste, or the
ers, and it’s easy to see why.Templates, sometimes wishes of a client, your figure’s proportions can be
called croquis templates, or flat templates, are as traditional or as stylized as needed. However, it is
black-and-white drawings of unclothed fashion important to remember that whatever proportion
figures printed on paper. For a designer unsure you choose, all your figures must have the same
about their drawing skills, or with a heavy work- consistent proportion. Remember that an illus-
load, sketching quick designs on a prefabricated trated design collection should represent clothes
figure is a plus. However, I think it best to create that are clearly created for the same body type.
your own template.

THE ROUGH DRAWING AND THE

Assignment FINISHED DRAWING
Your drawing will be of a man standing straight Every artist at some time reworks a drawing.
and facing forward with his arms at his sides. A Sometimes a quick sketch is perfect. It has wit
static image like a photograph might be a good and energy and explains the garment perfectly.
idea. You can use the image on the following And sometimes a drawing simply needs more
page or find another one online. (1) Begin with work. While drawing from life affords an imme-
a light underdrawing of a figure, marking off the diate and spontaneous response to a model, most
most important body landmarks: the head, neck, fashion designers and illustrators will rarely have
shoulders, upper torso, lower torso, legs, and arms. an opportunity to draw from life. Even if they
It is at this stage that you should pay particular do, time, money, and other circumstances may
attention to the proportions of your figure. What limit an artist’s ability to use a model. In that case,
type of template do you want? A template that whether using a model or a photograph, a rough
will be used for flats is different from a template sketch can serve as a preliminary stage, the first
that will be used as the basis for a fashion figure. step in a process toward a more finished illustra-
A template figure for flats will have proportions tion or sketch.

Drawing the Clothed Figure: Creating Dimension  115

 Figure 4.35 Drawing from a template.

Illustrated Men  116
 Figure 4.36 Step by step, drawing from a template.

Drawing the Clothed Figure: Creating Dimension  117

It might help to think of rough drawings as a and redraw your rough with your red lines as a
discovery technique. Like a sculptor carving a guide. Many illustrators and designers draw their
figure out of a block of stone, a preparatory draw- roughs on tracing paper, only to later transfer the
ing can be the beginning of the gradual evolution rough to the paper they intend to use as a finish.
of a piece or the basis for a more refined and Learn to develop a clear-eyed evaluation of
polished illustration. The key here is a rigorous your work. This will require a certain degree
critique of your rough sketch, with you asking of humility. One of the most important lessons
the question: How can I make my drawing better? to be learned as an artist is how our art might
One can start by examining the drawing and look stacked up against the work of other artists.
answering some key questions: Are the propor- Being too sure of the value of your work can
tions and anatomy correct? Is the figure balanced be just as harmful as too little confidence; both
and standing properly? Are the shapes of the can hamper genuine development, because
garments clear? Do the folds and shadows add the lessons we learn from our mistakes help us
depth and dimension to the figure, or are they develop into the skilled artists and designers we
haphazard scribbles? Be honest with yourself. aspire to be. Lastly, be careful not to “overwork”
Some of these questions are easy to answer after your drawing with too many lines, shadows, or
a careful examination of the sketch, and some media. The best fashion drawings look effortless,
require more focused attention. Because this is not labored over. Strict realism is not interpret-
the first stage, now would be the time to exper- ing fashion.Try to interpret what you see with as
iment with the sketch, to perhaps exaggerate the much imagination and skill as possible.
proportions or stylize the figure. Better to go too
far at this stage than to play it safe.You can always
How Can I Make My Drawing Better?
tone down the approach or change your mind
A Check List
later. Also, when we work closely on a piece,
we often become blind to our mistakes. We’re Consistency is the hallmark of professionalism.
so used to seeing the drawing that we can’t see To be able to produce, on demand, the same
what might be obvious to others. We need some level of technical skill and problem solving,
distance. Many artists will put a drawing aside for repeatably, is what separates the amateur from
a day or two, coming back to it later. the ­professional. This is particularly true with
One way to view your drawing with fresh eyes commercial art. Creative and design directors
is to hold your sketch in front of a mirror. This expect you to reproduce similar artwork to what
reversed view will show you whether your draw- they have seen in your portfolio, or on social
ing is lacking symmetry, or is out of proportion, media. If your figures change in proportion from
or is just misshapen. Another tool is to draw your drawing to drawing, or if they appear off balance,
rough on a sheet of tracing paper, and then turn it or obviously anatomically wrong, your work
over to see the drawing on the other side. Like the will be seen as hopelessly amateurish and not
reflection in a mirror, you’ll be able to see what worth their time. So, before you submit y­ ourself
your drawing looks like with fresh eyes. Then, by to the cold criticism of the outside world it’s
correcting your drawing with a red pencil on the best to make sure that your work can stand up
reversed side, you can flip the paper over again to review. To that end, become your own best
and see your corrected red lines.You can then edit critic. Try to have some critical distance when

Illustrated Men  118
it comes to your work. That means being aware plumb line. And third, your figures should look
of your limitations, and yet constantly testing as though they belong together, not just in terms
them. Too much self-criticism can be inhibiting of proportion, but in the sense that they look
and counter-­productive, while too little can lead vaguely related to one another. This is especially
to an unearned smugness. Try to strike a healthy true if you are illustrating a design collection. Even
balance. Keep in mind that this is part of a life- without an illustrated environment, by creating
long process. Start by really looking at your work. a group of figures that appear somewhat related
First, if you have a group of figures, make sure to one another, you are creating a narrative (see
that all your figures have the same proportions. figure 4.39). Some other suggestions: Look at your
This is especially true if this is a design page and drawings as objectively as you can.Are your figures
you have more than two figures on a page. Their too short or too tall? Is that figure anatomically
height, shoulders, waist, knees, and feet should all correct? How do the individual abstract shapes
align. Because fashion art can vary from realistic of the figure look in relation to one another? Is
to hyper-stylized, a great deal of leeway is given the torso too short in relation to the legs? Are
to personal expression in fashion art. Even so, the arms too long? Is the head too big? Look at
a consistent look and feel will make it easier to your rough—you should always start with a rough
accept a unique style, while a constant varying drawing—and your source material, whether a
of style and proportion in figure after figure may live model or a photograph, and look, and look
suggest inexperience. Second, all figures should be again, and redraw, and redraw again. Only when
standing with their feet flat on the same floor, and you have a sound and well-drawn rough can you
not floating or tipping off balance. Remember the then go on to a finish.

Figure 4.37 Movement.

Drawing the Clothed Figure: Creating Dimension  119

 about the placement of the figure on the page.
Creating a Picture Obviously, drawing a single figure on a page is
FUNDAMENTALS OF DESIGN relatively simple, but adding one or two more
figures means working out how the figures will
Just about every painting or illustration you have
relate to one another. In that case, it is help-
ever seen began as a plan. The artist or designer
ful to do a few thumbnail sketches to get a
had to work out where to place the figure, or
quick sense of the effect of the figures and their
figures, on the page. This arrangement of the
relationship to one another. In other words,
­
figure, along with other elements on the page,
consider whether the figures would work well
is called a layout or composition. Think of it as
in an environment—in a room or on a sidewalk,
a sort of blueprint, a process that involves using
or against a single blank background. One might
space, line, color, and texture to create a harmoni-
use a large figure in the foreground as a point of
ous picture. Simply put, a layout, or composition,
interest or play with contrasting sizes and colors
is the careful placement or arrangement of visual
to create a more dynamic composition. Poses
elements on a blank page that create a sort of
overlapping one another might also create some
balance. Balance in a work of art is creating order
visual contrast. As with all art, experimentation
out of chaos. It is a planned approach to a paint-
is key. There are several important elements that
ing or illustration involving an arrangement of
go into composition:
parts to create a whole. These parts, or elements,
Movement: Creating movement or rhythm
include things like movement, emphasis, contrast,
in a composition might mean the flow of an ink
symmetry, pattern, and scale. A successful compo-
brush, the repetition of an element—lines, shapes,
sition draws the viewer in, subtly leading the
or colors—or the placement of figures inside a
viewer’s eye across an illustration so that a single
picture that will lead and guide the viewer’s eye
point of interest immediately tells the story.There
to certain areas (see figures 4.37, 4.38 and 4.44).
are often contrasting areas of light and dark, and
Focus, or emphasis, is usually the focal
whether the arrangement is symmetrical or
point of the picture, the figure or object that is
asymmetrical, the overall look is well balanced.
predominate. When other elements compliment
Just as simply drawing a clothed figure on a page
the focal point, the design is harmonious (see
isn’t a fashion drawing, a­ rbitrarily placing a figure
figure 4.39).
on a blank page isn’t a composition.
Contrast is created when two elements
A good composition requires thought and
are opposites: black against white, thick against
planning. The basic principles of design will
thin, or big against small. Contrast allows one
always be present in all good compositions. A
to emphasize a figure or element on a page in
good layout can enhance a mediocre illustration,
contrast to another. Simple positive and negative
while a bad layout can detract and under-
space is an example of contrast (see figures 4.41
mine even an excellent drawing. Always think
and 4.2).

Illustrated Men  120
Figure 4.38 Illustration by Alvin Pimsler. Image courtesy of Fashion Institute of Technology SUNY FIT Library of
Special Collections and College Archives.

Balance occurs when you place a large of equally distributed weight (see figures 4.43
element on one side of your page and a smaller and 4.47).
element on the other side. It is distributing the Pattern, in the graphic or compositional sense,
visual weight on the page so that both halves of is a repetition of lines, shapes, or colors in an illus-
the design are still somehow visually equal (see tration that creates a visual consistency. Much like
figure 4.40). a rhythm in music, a repeated element can create
Symmetrical and asymmetrical compo- a visual movement that allows the eye to travel
sitions: A symmetrical composition is one in (see figure 4.45).
which the two elements on the page are evenly Scale often works in conjunction with
spaced and mirrored. They are identical parts on contrast. Placing a larger exaggerated figure
opposite sides of an imaginary dividing line. An within a slightly smaller graphic environment
asymmetrical composition can be any arrange- can create a dynamic composition, and vice
ment where the two main elements are not equal versa. Scale can also help to suggest an environ-
and are unbalanced but might give the illusion ment within the picture frame (see figure 4.46).

Drawing the Clothed Figure: Creating Dimension  121

Figure 4.39 Size matters. Image Courtesy of Gary Kaye. Gary Kaye / view-publications.com.

Illustrated Men  122
Figure 4.40 Jasjyot Singh Hans. Image originally created for LAAB magazine #2 EAT/SHIT. Curated by Ronald
Wimberly, published by Beehive Press.

Drawing the Clothed Figure: Creating Dimension  123

Figure 4.41 Contrast. Ryan McMenamy..
Figure 4.43 Symmetry.

Figure 4.42 Contrast. Figure 4.44 Pattern. Richard Kilroy.

Illustrated Men  124
Figure 4.45 Antonio. Soen magazine, Juan Ramos wearing Stephen Burrows, 1969. Pen and Cello-Tak on paper. The
Estate & Archives of Antonio Lopez and Juan Ramos.

Drawing the Clothed Figure: Creating Dimension  125

Figure 4.46 Scale. Robert Melendez.

To create an illustration with a single figure is

Figure 4.47 Symmetry. Richard Haines.
relatively simple, particularly if there are no other
elements involved. However, once you add two
or more figures, you should probably consider the
arrangement of the figures and their relationship
DRAWING IN PERSPECTIVE
to one another. One way to do that is to create
thumbnail sketches, small quick sketches using For most of history, pictorial art was rendered in
light and dark shapes that indicate the place- flat stylized images. Artists back then could not
ment of the figures. These sketches should help convincingly convey a three-dimensional world.
you see how contrasting forms and tones shape Finally, in 1415, Filippo Brunelleschi, an Italian
the overall design, and whether there is an easy Renaissance architect, changed that by creating
flow with the elements guiding the eye. When a method for delineating form and distance. This
grouping figures with a single background, the method is called perspective, and it helped artists
perspective of the figures should relate to the to better represent a three-dimensional reality
background: They should look as if they were all on a two-dimensional surface. It is this realistic
standing, or sitting, on the same plane. If there is impression of depth that creates the illusion of
a dominant figure, it should be used as an anchor distance, dimension, and form.
that unites the other figures in the composition. From a fashion artist’s point of view, an
Again, ­planning is key. academic approach like perspective might not

Illustrated Men  126
seem necessary in a fashion drawing. But I believe HORIZON LINE
a general theory of perspective is necessary for
anyone who believes in good drawing. One can
begin to understand the theory by simply look-
ing straight ahead at an imaginary horizontal line
on a wall. Don’t look up, or down, just straight.
The line should be at the same level as your eyes,
whether you’re standing or sitting. Drawing a
Figure 4.48 One-point perspective.
line on a paper representing this view would be
described as eye level.This line establishes a hori-
zon line. All objects drawn at that eye level will
look flat, anything drawn above or below will
show a third dimension. Now, add a dot at the
center of the line.This is the vanishing point.You
now have one-point perspective. Imagine a set
of railroad tracks that start as two parallel lines; as
they recede into the distance, the lines converge
as they meet at the vanishing point. In one-point
perspective there is only one vanishing point, and
it is centered at eye level. All perspective lines will
Figure 4.49 Two-point perspective.
converge at this one point. All horizontal lines
will be parallel to the horizon line.
A two-point perspective is useful for drawing the number of vantage points in a drawing. All
a cube. (1) First, establish a right-hand vanishing forms of linear perspective involve a horizon line,
point, and a left-hand vanishing point on the vanishing points, and lines of perspective that
horizon line (or eye level). The sides of the cube advance or recede from the vanishing points. For
will diminish according to their distance from the accuracy’s sake, one should use a ruler, a T-square,
vanishing point. (2) Then draw a vertical line (the and a triangle. While perspective is not generally
perpendicular axis) to create the angle nearest you. used in fashion illustration, a basic understanding
(3) Draw the converging lines starting from the can help a designer or artist when composing a
vanishing points.There are one-, two-, and three- page with several figures, or when a figure exists
point perspectives. Each perspective is named for within an environment.

Drawing the Clothed Figure: Creating Dimension  127

 Drawing the Garment: Details
­5
When one thinks of traditional menswear,
The Basics: Suit and Blazer one inevitably thinks of tailored suits. But what
A good fashion illustration is more than just is meant by tailoring? Tailoring is the art of
a drawing of a garment. To be successful, the designing, cutting, fitting, and sewing garments
artwork must persuade the viewer that this arti- to conform to the body.The word “tailor” comes
cle of clothing is meaningful. It must attract a from the French word tailler, meaning “to cut.”
prospective buyer, and so whatever unique As mentioned in the Introduction, menswear
qualities exist within the garment must be accen- in general, and tailored clothing in particular, is
tuated. This is where the artist comes in. Look at largely derived from military uniforms and the
the garment, study it. What are the qualities that equestrian clothing of the upper classes. The
make this garment appealing? How is it made? earliest tailors appeared during the Middle Ages
What is the fabric like, how does it move? What as linen armorers. These men—and they were
is the most interesting aspect of the garment? Is always men—created padded linen garments
it luxurious, or practical? Conservative, or hip? that were worn under the chain mail of armored
What is the silhouette? What is the fit? To achieve knights to protect the wearer from chafing.
your objective, you must have a clear understand- From that time on, a master tailor would
ing of the construction of the garment, and how have an apprentice: an aspiring tailor who would
it looks on the figure. This is always important learn the art of tailoring from close observation.
when drawing any garment, but particularly so Apprentices would learn their craft by molding
when the subject is tailored clothing. woolen cloth in the shape of a body. Once they
had mastered that skill, they would then add
different elements, creating a variety of effects
and styles that would showcase their skill.
Figure 5.1 Details: Drawing the
garment.

129
 Because of this method of teaching, there
were no written manuals on tailoring until 1796.
There were, of course, guilds and brotherhoods,
but this scarcity of experienced tailors helps to
explain why, historically, only the aristocracy or
the very rich could afford custom-made cloth-
ing. It wasn’t until the Industrial Revolution, and
the growing purchasing power it brought to the
middle class, that ready-made and custom-made
clothing was made more affordable, and therefore
more widely available.
This period—roughly from 1820 to 1878—is
often described as the Golden Age of tailoring.
Now a garment no longer needed o ­ rnamentation
or other finery to be elegant: Simplicity of cut and
fit was the new ideal. It was during this time that
the profession’s reputation soared. Master tailors
in London and Paris had the sorts of brilliant
careers that would have been unthinkable just a
few decades before. And all of this was due to the
rapid evolution in tailoring techniques. Measur-
ing became more precise, with the introduction
of measuring tapes (or “inch tapes”), and unde-
sirable folds and crooked lines soon disappeared.
It was during this period that the three-piece
suit emerged. While similar, it was not yet the
modern silhouette that we recognize—that suit
didn’t appear until 1920.
Figure 5.2 Illustration by the author.
The gradual mass production of garments,
due to the invention of the sewing machine,
along with new forms of marketing, made the summer or “Palm Beach” suits become ­popular
appearance and availability of ready-made suits in the US. Since that time, the tailored suit has
inevitable. Still, differences in quality remained; evolved over the years into a near ubiquitous
many would still purchase a bespoke suit from a garment for the modern professional man.
tailor, or made-to-measure, if they could afford it. A suit, whether custom-made or off-the-rack,
London’s Savile Row was still the gold standard is a precisely cut and sewn garment designed to fit
in men’s fashion. By the second half of the 19th the body. A “bespoke” suit is a made-to-measure
century, the invasion of ready-made suits was garment for a specific client. It is called a bespoke
complete: They dominated the market. By 1910, suit because it is a garment that is “spoken for”
with the introduction of lighter suit fabrics, and not for sale to the public. It is also a suit with

Illustrated Men  130
the kind of precise tailoring details that are rarely,
if ever, seen in ­mass-produced clothing. While
there are a wide variety of jackets and coats,
the basic construction of a tailored jacket has
remained nearly the same for well over 200 years.
When drawing a tailored garment, it is impor-
tant to remember a few things: (1) Keep your lines
and shapes clean and sharp. Too many lines will
create a badly wrinkled suit; too few will give your
figure a stiff, cardboard look. Practice restraint
when drawing a suit, adding only those folds that
hint at the body beneath the fabric—editing is
everything here. (2) Make sure your drawing of
a suit, particularly when drawing a front view, is
balanced and symmetrical; when you draw one
side of the garment, make sure the lapels, collar
gorge, pockets, etc., on the other side are mirrored.
(3) Pay particular attention to the details of the
construction, the look of the shoulders, the posi-
tion and length of the sleeves, the weight of the
fabric, shape of lapels, pockets, seams, buttons, and
buttonholes, and all of the details that make up the
particular look of that garment.

DRAWING A SINGLE-BREASTED
JACKET
To begin, it is important to note the details and
construction of a blazer. The shoulder lines will
have a slight slope from the top of the collar to
the top of the armhole. The top collar is a sepa-
rate piece which is connected to the lapel and
goes around the neck. It falls onto the shoulder,
and then the upper chest. The line of the lapel in Figure 5.3 Illustration by the author.

a drawing should be straight and precise, with a

slight shadow above the top button that suggests the silhouette and placement of the collar, lapels,
the roll of the fabric. There will also be slight buttons, and pockets. In finishing a drawing,
shadows under the top collar and lapel. Note that rendering the various seams and top stitching
men’s garments close left over right (in a draw- throughout the garment can add to the overall
ing that would be right over left). Notice, too, detailed look of the jacket.

Drawing the Garment: Details  131

Figure 5.4a Illustration by the author.

Figure 5.4b Image courtesy of Jusun Lee. Jusun Lee.

Figure 5.4c Figure 5.4d Image courtesy of Francisco J. Cortés.

Illustrated Men  132
 In a design sketch the seams and top stitching
Gorge line
are usually rendered with a dotted or broken line.
In a fashion illustration the seams can be done
Sleeve head/cap
Lapel
with an unbroken line. Remember, the details,
proportion, fit, and fabric of a garment distinguish
Roll line/ it from any other period. Drawing clothing details
break line
Front precisely is key to successfully rendering a garment.
dart
Draw the shoulder lines sloping from the
Break
point Pocket jet/
neck to the top of the shoulders. Where the
welt deltoid would meet, draw a slightly curved line
Pocket ­indicating the seam of the armhole. This line
flap
Patch should suggest the roundness of the shoulder.
pocket
Then draw the top collar as a separate piece join-
ing the lapel.

Figure 5.5a Single-breasted jacket—front.

Center back

Top sleeve

Hind
seam

Under
sleeve

Sleeve
vent
Center back
vent

Figure 5.5b Single-breasted jacket—back.

Figure 5.6 Illustration by the author.

Drawing the Garment: Details  133

 Figure 5.7a How to draw a single-breasted jacket.

Figure 5.7b How to draw a single-breasted jacket.

Illustrated Men  134
 Now that you have a nearly completed blazer, types of shoulders, so be clear about which one
add the sleeves. Keep the arms slightly bent, with you are illustrating. Observe the break point—
some space between the arms and the sides of this is where the lapels fold over from the inside
the jacket. This will allow the viewer to see how of a jacket. It is the central pivot point of a
tapered the waist is. Add sleeve buttons. Pay jacket—how high or low is it? Make sure you
close attention to the fit and look of the jacket add the necessary details to the jacket: darts, side
on a figure. Though jacket styles and silhou- seams, and pockets. Above all, try to recreate the
ettes may change, typically a suit jacket should overall effect of the suit by choosing the correct
always fit, but not too tightly. Notice how the pose or stance. The way the figure stands can
collar sits around the neck, and the exact fit of ­communicate how the garment should feel, and
the ­shoulders and armholes. There are different who ideally would wear it.

Figure 5.8 Illustration by the author.

Drawing the Garment: Details  135

Drawing a Double-Breasted
Jacket
Like the single-breasted jacket, begin with a
figure as an underdrawing. Place a sheet of trac-
ing paper on top. Begin by creating a center
front line. Draw a curved line from the left from
around the neck to the center line. From the
right, draw a line to the center line. Both lines
should meet at a point slightly below the chest.
Extend the line to the left of the center line
midway between the center line and the edge
of the body, ending slightly above the waist. This
line should be parallel to the center line. Drop
this line to about wrist level.
Now draw the peaked lapels, making sure
they are symmetrical. Draw the top collar
attached to the lapels. Add the shoulder lines and
the armholes. Draw the sleeves. Add three rows
of buttons equidistant from the center line. The
first two buttons are slightly below the chest, the
second two buttons are at the waist, and the third
row is at the hip. Be sure to add buttonholes.

Figure 5.10 How to draw a double-breasted jacket.

Figure 5.9 Illustration by the author.

Drawing the Garment: Details  137

Figure 5.11a Drawing a double-breasted jacket, steps 1 and 2.

­Figure 5.11b Drawing a double-breasted jacket, steps 3 and 4.

Illustrated Men  138
Figure 5.12 Modern—2019. Image courtesy of George
Gozum.

Figure 5.13 Illustration by the author.

Drawing the Garment: Details  139

ILLUSTRATED GLOSSARY OF JACKETS AND BLAZERS

Two-button double-breasted Fitted three-button Jacket with two

jacket with set-in sleeves jacket with set-in sleeves short side vents at
and notch collar and notch collar the back

Two-button jacket with Fitted four-button jacket

peak lapels with set-in sleeves Norfolk jacket

Fitted single-button jacket Jacket with yoke

Safari jacket with with shawl collar and notch lapels

Illustrated Men  140
Figure 5.14 Jacket glossary.

Drawing the Garment: Details  141

TROUSERS on the body (e.g., harem pants, dhotis, or para-
chute pants, as worn by MC Hammer).
It is only 200 years since men’s trousers began Trousers, or pants, vary in width and length.
to develop into the garment we recognize Shorter pants ending above the ankle are
today. The earliest incarnation of trousers were described as “cropped.” Longer-length pants
breeches, which were pants that ended just will have what is known as “breaks.” A break is
below the knee. They had a button-fly and were a fold at the lowest ends of the pants where the
often buttoned at the knee (today, breeches, also fabric reaches the shoe. There are quarter-breaks,
called jodhpurs, are tight-fitting trousers that are half-breaks, and full breaks. A break is not to be
generally worn for horse riding). By the 1820s, confused with a crease.
the pantaloon had replaced breeches; pantaloons A crease is a traditional look in semi-formal
were slim trousers with foot straps and a notched and formal trousers. Typically, a sharp crease is
instep. Gradually, the foot straps of the pantaloons ironed down the center of a pair of pants, adding
disappeared, and the final evolution of the pant a crisp sophisticated look. In a drawing, a crease
was complete. is represented by a simple straight line that runs
By the mid-19th century, men’s trousers vertically down the front of a pant, breaking only
began to resemble the modern pant more closely. as the crease hits the top of the shoe.
These had a button-fly front instead of the “falls” It might help to imagine a drawing of trousers
(a front panel that buttoned on the sides), and as a series of circles. The first circle is the waist,
trouser cuffs, which were created to lift the trou- the second, the hips, and the third, the legs. The
ser hem above the dirt. Soon, trouser creases trouser legs are cylindrical, starting out wider
were made fashionable by the Prince of Wales at the upper thigh, then, generally, narrowing
(later Edward VII). By the beginning of the 20th toward the hems. On wide pants the excess fabric
century, the fly-front creased trouser became a will create a tension line caused by a slight pull
staple of menswear. from the hip. Tight-fitting pants like skinny jeans
will more closely show the muscles of the legs.
­D RAWING TROUSERS Begin by establishing the waist and then the
length and width of the pant legs. Does the waist
As with drawing jackets, one should begin by have a high or low waist? Are the pants close-­
sketching a center front line; this line will repre- fitting or baggy, cropped or tapered? How heavy
sent the rise in a pant.A rise is the length between or light is the fabric, and what do the folds and
the waistband and the center of the crotch seam. tension lines look like? And finally, what are the
There are two types of rises: a low rise and a high garment details and embellishments that make
rise. Pants with a high rise will sit a little higher the pants unique? As always, observation is key.
in relation to the waist, a low rise will sit lower

Illustrated Men  142
Figure 5.15 Trousers.

Drawing the Garment: Details  143

Figure 5.16a Harem pant. Figure 5.16c Wide leg.

Figure 5.16b Creased pant. Figure 5.16d Slim fit.

Illustrated Men  144
Figure 5.17 Loretta Tedeschi-Cuoco Zouave Pant. Image courtesy of Loretta Tedeschi-Cuoco 2020.

Drawing the Garment: Details  145

Figure 5.18 Illustration by the author.
THE SHIRT ­D RAWING A BASIC SHIRT
The shirt as we know it is a descendant of the Although there are many different types of
long tunic, a universal menswear staple for shirts, perhaps the most common, other than the
hundreds of years. In the 17th century, European T-shirt, is the dress shirt. The dress shirt remains
men wore the abbreviated tunic, or shirt, as a an important staple in a modern man’s ward-
kind of underwear; it was worn to protect the robe. The basic structure is simple: It has a collar,
outer garments from sweat and dirt. By the 18th cuffs, yoke, stitching, buttons, side seams, gussets,
century the shirt made an outward appearance in armholes, and hemline. As with all garments, a
an incarnation that more closely resembled the clear understanding of the individual elements
modern-day garment, only with ruffles, jabots, and how they work together can only aid your
and elaborate collars. Detachable collars and drawing.
cuffs appeared around 1828. These collars and As before, begin with an unclothed figure
cuffs, made from cloth and paper, were created (cropped or full figure), and place a sheet of trac-
so that they could be worn every day with- ing paper over the drawing. Begin by drawing
out changing the shirt. The popularity of these a center front line. Once done, draw a spread
ready-made parts was due to the difficulty and collar. Draw the band collar as though it was
expense of laundering shirts. Clean white shirts wrapped around the neck, with no gaps. Using
signaled one’s social status and professionalism. the center front line as a guide, make sure both
The demand for detachable collars and cuffs sides of the collar are symmetrical. Sketch in the
remained steady until the late 1920s. shoulder and the overall silhouette of the shirt.
Today there are as many different types of shirts Add the cuffs and sleeves. Add a few short lines
as one can imagine—dress shirts, sport shirts, sweat- where the inside of the elbow would be, to indi-
shirts, T-shirts—but they all follow the same basic cate the occasional compression of the fabric.
pattern of a collar, a main body, and two sleeves. As Finally, sketch in the placket. This should lie on
in all fashion drawing, the details are all-important. top of the center front line. Draw the buttons
on top of the center front line, making sure that
the buttons are equidistant from one another. As
with the drawing of jackets, symmetry in a shirt
is important.

Drawing the Garment: Details  147

 Collar stand
Collar band

Yoke

Upper front
dart Pocket

Lower front
dart

Sleeve
Front
placket
Lower
placket
sleeve

Body back
part
Upper
placket
sleeve Cuff

Bottom hem

Figure 5.19a Shirt front.

Figure 5.20 The shirt on a figure.

Figure 5.19b Shirt back.

Illustrated Men  148
Figure 5.21 Image courtesy of Francisco J. Cortés.

Drawing the Garment: Details  149

ILLUSTRATED GLOSSARY OF SHIRT COLLARS AND CUFFS

Straight Button down

One-piece
Figure 5.22a Shirt collars.

Spread Cutaway Club

Tab Split lapels Mandarin

Illustrated Men  150
Double French French One-button Two-button

Rounded French Turnback One-button cut Two-button cut

Angled Square Large rounded Three-button

Figure 5.22b Cuffs.

Drawing the Garment: Details  151

 the rabble and ­bourgeoisie alike. In that sense,
­Outerwear one could argue that this was the origin of the
It was in mid-18th-century France that the modern men’s coat. The overcoat remained
modern cloth coat made its appearance, and like popular until the First World War, its ungainly
almost all menswear, it owed its existence to the size and bulk contributing to its slow demise.
military. By the next century, there were differ- While the peacoat is the closest descendant of
ent coats for different times of the day. Formal the 19th-century overcoat, a wide selection of
evening wear for men consisted of tailcoats, men’s coats have replaced it.
cutaway coats, and morning coats. Daywear While any garment worn over any attire is
styles included frock coats, sack coats, and town technically outerwear, there are countless varia-
coats. Bad weather usually meant Inverness tions of men’s outerwear: peacoats, trench coats,
capes. However, around 1835 all of that changed chesterfields, flight jackets, motorcycle jackets,
with the sudden inexplicable popularity of the Polo coats, puff jackets, denim jackets, and on
overcoat. The overcoat was neither a cloak nor and on. The fabrics that are usually used to make
a tunic. It had no horizontal seams, no pleats outerwear range from cashmere and mohair
under the arms, and was made from a coarse to worsted wools, flannels, tweeds, velvet, and
broadcloth. It was, in fact, a simple waistless assorted man-made fabrics. Often the linings of
sack. Double-breasted with many buttons and these garments are satin, silk, or cotton.
two large pockets, it resembled a lumpy over-
sized peacoat. Still, if nothing else, it kept the
DRAWING A COAT
wearer warm.
After being adopted by Dandies and men The best way to emphasize the overall shape
of the upper classes, the overcoat inevitably and design details of a coat is to draw it facing
became high fashion. These particular coats forward, with the coat closed. Of course, if there
were better fitted, worn close to the body, are important design details inside the coat, or
and made from an array of fine fabrics. But on the sides, or in the back, your choice of poses
as the overcoat became more popular with should reflect that. Make sure you can visualize
the working classes, its silhouette changed, and understand the body beneath the coat. Then
becoming looser and more comfortable. With begin by first drawing the overall shape. You
the introduction of mass production, and the can do this by drawing the coat in two separate
availability of affordable ready-made cloth- parts, the left side then the right, or the top and
ing, it became a kind of uniform, worn by bottom, if there is a defined waist.

Illustrated Men  152
Figure 5.23 Double-breasted topcoat. Illustration by author.

Drawing the Garment: Details  153

 Figure 5.24 “Overcoat and bulldog” in the style of the Apparel Arts.
Illustration by author.

Figure 5.25 River Island Menswear: Mengjie Di.

Illustrated Men  154
Figure 5.26 Image courtesy of Gary Kaye. Gary Kaye /garykayeillustrations.com.

Drawing the Garment: Details  155

ILLUSTRATED GLOSSARY OF OUTERWEAR

Six-button double-breasted Belted shawl-lapel coat Rear view of

coat with peak lapels Front belted-shawl lapel
Polo coat

Figure 5.27

Classic trench Chesterfield Loden coat

Illustrated Men  156
 Barracuda jacket Bomber jacket Varsity jacket

Duffle coat
Belted coat
Single-breasted
trench

Aviator shearling Motorcycle jacket Biker jacket

jacket
Pea coat

Nautical style coat Nautical style

Front coat Back

Raglan car coat

Parka with Denim jacket Puffy coat
hood Belted coat with
sherung collar

Drawing the Garment: Details  157

Knits and Sweaters
Prior to 1918, an Englishman, and therefore any
man interested in fashion, was always seen in a
coat, suit, and tie. A certain unvarying formal-
ity was the mark of a Victorian gentleman. The
starched collar, tight jackets, and ramrod posture
epitomized the sort of sober and mature man
that was ideal at the time. The post-war years
of the 1920s changed all that. A new generation
came along with its own ideas about masculine
dress and modernity. Now athleticism, infor-
mality, and youth became ideal. This is apparent
with the introduction of the sweater. Where
before there was the stiff vest or jacket, now
there was the soft jersey pullover, or the Fair Isle
vest. From the 1920s on, knitwear and sweaters
become synonymous with modernism. Intro-
duced as comfortable and less formal wear, the
pullover, or the fisherman’s knit, soon became
a staple of everyday menswear, reflecting both
the growing desire for comfort and simplicity in
menswear and the slow, but steady, casualization
of menswear.
There are two basic types of knitwear: fine
and heavy knits. Heavy knits would include cable
sweaters, cardigans, certain crewneck and V-neck
sweaters, and sweatshirts. Light knits would
include jerseys, turtlenecks, light polo shirts, tank
tops, and T-shirts. Knits can be hand-sewn or cut
and sewn machine-knitted.

Figure 5.28 Image courtesy of Eduard Erlikh.

Illustrated Men  158
Figure 5.29 Image courtesy of Gary Kaye. Gary Kaye / garykayeillustrations.com.

Drawing the Garment: Details  159

Figure 5.30 Illustration by author. Figure 5.31 Illustration by author.

Figure 5.32 Image courtesy of Brian Lane.

Illustrated Men  160
Figure 5.33 Illustration by author.

Drawing the Garment: Details  161

ILLUSTRATED GLOSSARY OF KNITS

V-neck cardigan Shawl-collar High-neck zipper

cardigan with cardigan
raglan sleeves
Figure 5.34

Buttoned sweater
Knit polo shirt vest Sweater vest

Crew neck V-neck Turtleneck

Illustrated Men  162
Aran sweater Cable-knit sweater Norwegian Sweater

Drawing the Garment: Details  163

 Millennials. Sportswear, activewear, and “athlei-
Sportswear sure,” are now three different categories of sports
Sportswear has traditionally meant those clothing. Sportswear refers to garments designed
garments made for the affluent, who could afford specifically for sports, while activewear is a recent
clothing specially made for their leisure activi- section of menswear that refers to clothing that
ties. Typically, this meant aristocratic pursuits has been designed almost exclusively for exer-
like horseback riding, tennis, golf, badminton, cising. Athleisure is a hybrid form of sportswear
and bicycling. These activities had become less typically worn in settings other than the gym.
class-bound by the early 20th century, due to Such garments can now be worn at home, while
an ever-growing affluent middle class. By this shopping, at the workplace, or in other casual
time, almost everyone played some sort of places. The trend supposedly began in women’s
sport, from bowling and swimming to skiing yoga classes; the clothes, such as yoga pants, tights,
and basketball. By the 1980s, gyms had become leggings, shorts, tees, and sneakers, are made for
popular, and clothes were now designed and light exercise and walking. Seen as the next step
made strictly for the gym. But it was the rise in sportswear, athleisure represents yet another
of urban hip-hop-driven streetwear that really step in the idea of sportswear as comfort dress.
popularized sportswear. Casual became cool. Critics may argue that the next fashion
Sweatshirts, hoodies, polo shirts, sweatpants, accessories might be a blanket and pillow, but is
sneakers, baseball caps, and tracksuits slowly comfort not the ultimate luxury? Contempo-
became standard items in a contemporary man’s rary examples of activewear include, but are not
wardrobe. limited to, tracksuits, T-shirts, shorts (spandex or
This represented a fundamental shift in Lycra), sweatpants, and sweatshirts; Sportswear
men’s fashion. Technological breakthroughs includes not only items like jeans, pullovers, and
in hi-tech fabrics and cutting made possible shirt jackets, but also specialized garments for
low-maintenance garments that didn’t require sports like swimming, skiing, basketball, riding,
constant pressing or dry cleaning. Clothes that tennis, golf, and ice skating.
were originally created for physical exertion Wearing sportswear is no longer just casual
are now worn because they’re comfortable and fashion, but high fashion. By the early 21st
require less effort. The suit and tie of an office century, sportswear like tracksuits, sneakers, and
worker hasn’t disappeared; he’s merely added a hoodies have become as ubiquitous as denim
hoodie under his sports jacket, and sneakers with jeans. Some popular sportswear companies
his trousers. include Rocawear, FUBU, 10.Deep, Supreme,
Sportswear today represents the casualiza- Stussy, Noah, and the sportswear behemoths
tion of menswear and the growing influence of Adidas, New Balance, and Nike, to name a few.

Illustrated Men  164
Figure 5.35 Image courtesy of Mitchell Van Au 2021.

Drawing the Garment: Details  165

 Figure 5.36 Illustration by author.

­Figure 5.37a Image courtesy of Ricola Wille. Figure 5.37b Image courtesy of Rosario Catrimi.

Illustrated Men  166
 Figure 5.37d Image courtesy of Loretta Tedeschi-Cuoco
2020.

Denim’s ubiquity is a result of several factors:

the growth and purchasing power of the
Figure 5.37c Illustration by author.
youth market, the ever-expanding influence of
­American popular culture, the relaxation of dress
DENIM JEANS codes, the casualization of the workplace, and
Fashion is about change. From season to season, the ever-evolving response of manufacturers to
year in and year out, the fashion industry creates consumer demand.
a demand for a new look. This change is based In the mid-1960s jeans became a symbol of an
on the requirements of fashion production and emerging counter-culture. Back then, the young
profit. Denim, however, is an exception to the were advised to wear their jeans in a bathtub so
rule. For the last eighty years, the look of denim they would shrink to the shape of the wearer.
jeans has remained remarkably constant. The Afterwards, the jeans would abrade and fray in a
blue jean—copper rivets on pocket corners, five way that suggested a life span.The holes, rips, and
pockets—whether in indigo stretch fabric or tears would further “personalize” the garment.
denim twill, is the same on the streets of Taiwan After repeated wearing, the cloth would become
as on the roads of Soweto or in the classrooms of softer and more comfortable. It would become a
New York. As such, the denim jean has become deeply personal artifact, the wear and tear of the
the most common, and therefore the most recog- denim reflecting the character of the owner. It is
nizable, form of sportswear in the world. this unique relationship of wearer and garment

Drawing the Garment: Details  167

that the denim business is trying to replicate price of a patent. After examining several sample
through pre-sold ­distressing. If a well-worn pair pairs of the pants, Strauss agreed, and after
of jeans can suggest a life, then the denim indus- several rejections from the patent office, Levi
try is offering, through distressed denim, a kind Strauss & Co. was awarded a patent number on
of manufactured nostalgia. It is this notion of May 20, 1873.
clothes with a traditional life span artificially aged, For the next 100 years, denim jeans slowly
aside from the look and feel of the fabric, that has but steadily became a mainstay of American
such appeal for buyers of distressed denim. sportswear. In the 1920s jeans became associated
“Denim” and “jean” were originally two with the country’s sudden interest in everything
different fabrics. Denim was a more durable western. With a little help from Hollywood,
twill, usually dyed in indigo and crossed with cowboys and gunslingers suddenly became
an undyed, white weft, while jean—a similar popular icons representing rugged individual-
fabric first produced in Genoa, Italy, around ism. By the 1930s department stores began to
the same period—was a woven fabric with two market and sell women’s jeans. During the war
dyed threads. After a while, the two fabrics, often years of the 1940s, women began to wear jeans
used in the same production of goods requiring in the workplace in order to take on the jobs
sturdy cloth, became interchangeable. What we left vacant by enlisted men. Jeans now became
call denim has had many names: One version a symbol of practicality, “up-to-dateness,” and
was called drill, a coarser fabric that at one time almost patriotism. And by the 1950s the grow-
was called “blue drillin’s,” a duck or canvas. ing cultural power of the American teenager
Dungaree—a name still in use as a synonym turned the denim jean into a symbol of youth
for denim—apparently descends from an even and non-conformity.
coarser, brown fabric originating in Dungaree, a Today, not just denim jeans, but denim jack-
village in present-day Mumbai (Bombay), India. ets, coats, and shirts have become a near global
A dungaree cloth, heavy and dense like canvas, presence, existing in almost every country in the
was often used in tents and sails. Seamen were world. Denim jeans are as American as Coca-
assumed to have recycled the torn and tattered Cola and apple pie, and yet this garment has an
ends of the sail into uniforms, including bell-­ almost universal appeal.
bottoms. From the beginning, denim was prized Even though they are a part of fashion, denim
for its toughness and durability. The popular jeans resist the continual changes of fashion.
blue jean that we know today is the achieve- They represent both high and low fashion. Each
ment of two men: Levi Strauss, a San Francisco generation seeks to define itself in opposition to
dry goods supplier, and Jacob Davis, a struggling the previous generation by wearing blue jeans in
tailor. While working on a horse blanket, Davis a provocative way.
realized that the copper rivets he used for straps There are many different types of denim—
could also be used to reinforce seams and pants dark rinse, light blue, and even white. Distressed
­pockets. Seeing the potential in selling durable denim might be faded, bleached, stonewashed,
work pants, but not eager to invest yet again in frayed, ripped, cut, or torn. As with regular
a patent fee, Davis wrote to the wholesaler and trousers, the fit and fabric of denim jeans will
offered him half interest in exchange for the determine its look.

Illustrated Men  168
Figure 5.38 Illustration by author.

Drawing the Garment: Details  169

Figure 5.39 Illustration by author.

Illustrated Men  170
Figure 5.40 Image courtesy of Francisco J. Cortés.

Drawing the Garment: Details  171

Accessories: Hats, Shoes,
and Bags
HATS
There was a time, as recent as the late 1950s, when
a gentleman was only half-dressed if he wasn’t
wearing a hat. Watching old movies from the
early 20th century, one is struck by how men, of
all classes, wore hats. In fact, almost all the hats we
wear now were designed and created during the
1920s and 1930s. Men wore hats all year round:
Spring and summer brought out lightweight
hats like straw boaters, Panamas, and cotton flat
caps; fall and winter weather called for heavy felt
Fedoras, Homburgs, and Derbies; and for formal
occasions a top hat was worn. By the 1960s hat
wearing had declined, only to resurface during ­Figure 5.41b Hat man 2020. Image courtesy of George
the 1980s and 1990s, with younger generations Gozum.

wearing baseball caps, Kangols, and bucket hats.

When drawing a hat, remember to draw the
hat fitting firmly on the head.The various types of
hats might look different, but they should all have
a crown that fits securely around the forehead.

Figure 5.41c Image courtesy of Richard Haines.

Figure 5.41a “Yellow Bucket hat” illustration by the author.

Illustrated Men  172
Figure 5.42 Top hat illustration by the author.

Drawing the Garment: Details  173

Diagrams: The Right and Wrong Way a Hat Fits on the Head

Figure 5.43a Remember to draw the hat sitting firmly on the head.

Figure 5.43b Remember to draw the hat sitting firmly on the head.

Illustrated Men  174
ILLUSTRATED GLOSSARY OF HATS

Cowboy Homburg
Cowboy (side)

Newsboy
Wide-brim Stetson
Trapper

Figure 5.44 Remember to draw the hat sitting firmly on the head.

Fedora Beret Baseball cap

Drawing the Garment: Details  175

SHOES ­ enswear, the influence of black street culture,
m
and the marketing of global sportswear compa-
The shoe, in one form or another, has always nies like Nike and Adidas.
been with us. Whether as a sandal, a cloth boot, Unless you are a menswear shoe designer, it
or a wooden clog, shoes have been a necessary is doubtful that you will have to focus solely
item for men and women since the beginning on the drawing of a shoe. Nevertheless, like any
of civilization. The modern men’s shoe, with an other accessory, the right shoe or boot can only
arched sole and a heel, emerged at the end of the add to the success of a design sketch or illustra-
16th century; over the course of the next two tion.
hundred years, these additions slowly became In drawing shoes, remember that the shoe
more popular. By the mid-19th century, with the will follow the form and shape of the foot. With
rise of factories, most shoes were mass-produced. a front view, make sure to emphasize the arch
Because of the rise in personal incomes and the containing the shoelaces and tongue of the shoe.
increasing popularity of sports and other activ- With a three-quarter view, depending on which
ities, there was a gradual demand for a diverse side of the shoe is being shown, pay attention to
range of styles. the space between the heel and the ball of the
Since the 1970s, the sneaker, or trainer, has foot (underneath the arch). See example.
become a ubiquitous footwear choice for men
of all ages. This is due to the casualization of

Figure 5.46 The foot and its relation to the shoe.

Figure 5.45 Men’s shoes.

Drawing the Garment: Details  177

ILLUSTRATED GLOSSARY OF SHOE STYLES

High top Canvas sneaker

sneaker or trainer

Loafer Wing-tip

Active sneaker Hiking boot

Cap-toe Oxford

Chukka Driving moccasin

Figure 5.47

Slide
Slide
Riding boot
Chelsea
boot Cowboy
boot

Motorcycle
boot

Casual boot

Work boot
Boat moccasin

Illustrated Men  178
Figure 5.48 Image courtesy of Gary Kaye. Gary Kaye / view-publications.com.

Drawing the Garment: Details  179

Figure 5.49 Menswear accessories.

Illustrated Men  180
BAGS other precious metals. In the 1940s and 1950s
the briefcase or attaché case was the choice of
When we think of handbags, we typically think lawyers and other businessmen. By the late 20th
of a woman’s handbag, but men have worn century, bags had become an essential part of a
bags ever since they had things to carry. Before man’s wardrobe. Today the undiminished vogue
pockets were invented, bags were a staple of for men’s bags includes, but is not limited to,
menswear. In the Middle Ages men wore a girdle the backpack, tote, and messenger bag. Like any
pouch that allowed them to carry everything accessory, it is important that its addition adds to
from herbs and flowers—to mask bodily odors— the general theme and look of the fashion figure,
to food and knives. Most bags were made from unless, of course, the bag is the focal point of the
leather or wool. During the Renaissance wealthy illustration.
men wore bags made of jewels and beads and

ILLUSTRATED GLOSSARY OF BAGS

Tote bag
Briefcase Backpack

Messenger Portfolio or Leather tote

Satchel

Figure 5.50 Bag glossary.

Drawing the Garment: Details  181

ACCESSORIES Recently, some menswear accessories have
become almost as important as designer cloth-
Designing accessories, hats, shoes, bags, and ing. What was once viewed as an afterthought
eyewear is a specialized field. Each accessory has now become, for many, an important part of
can have different markets and categories. Some their wardrobe.Tote bags, sneakers, and eyeglasses
accessory designers design for several markets, are now regarded as essential elements of any
while others create exclusively for one. The menswear luxury brand. While such brands have
drawing of accessories requires the same levels yet to create the all-important investment pieces
of observation and draftsmanship that are needed to rival some women’s couture houses, it is only
for clothing. A successful accessory designer a matter of time before such items are promoted
or illustrator must be an adept draftsman with and sold, not just as accessories, but as luxury
a good rendering technique, a knowledge of status items.
perspective, and an intuitive sense of what makes
a good layout. Whether creating sketches during
a conceptual phase or for finished illustrations for
presentation, studying the construction, propor-
tion, color, and finishing details of an object is
unquestionably important.

Figure 5.51 Image courtesy of Loretta Tedeschi-Cuoco

2020. Figure 5.52 Image courtesy of Richard Kilroy.

Illustrated Men  182
Figure 5.53 Image courtesy of Ryan McMenamy.

Drawing the Garment: Details  183

184
 Rendering Techniques
­6
That sounds easier than it is. One must carefully
Color Rendering: Marker, observe the distinct characteristics of a fabric, its
Color Pencils, Watercolor, color, weight, and texture, and then try to mimic
Gouache, Collage, and those qualities in a drawing. The rendering can
be realistic or a mere suggestion, but it must
Mixed Media attempt to faithfully communicate the look of
To render a drawing is to embellish it. This is the chosen fabric. This is where rendering tech-
done by adding texture, shading, highlights, and niques come in. That does not mean that your
color. Color adds visual complexity to a line rendering must be photographic. In fact, a loose
drawing by introducing depth and pattern. Color interpretation is often more effective than a strict
can be descriptive or symbolic—it can even copy. But your rendering should give a clear-cut
suggest psychological meaning. Color, depend- idea of what the fabric looks like.
ing on how it’s used and what you are trying to In this chapter we will look at different types
convey, can be even more important than line. of color media, and their use in replicating a
For a fashion designer, or an illustrator, wide variety of menswear fabrics. Rendering
convincingly rendering a fabric in color is an techniques will vary depending on the media:
important skill. Being able to accurately describe whether wet, which would include markers,
a particular fabric is just another way of clearly watercolor, inks, and gouache, or dry, which
articulating the garment you see or imagine. would include color pencils, pastels, and collage,
or even a combination of all the above. Your
choices will depend on your comfort and ease
with a medium, and its suitability for the project
you have in mind. An abstract print might be
Figure 6.1 Illustration by author. best rendered with markers or gouache, while a

185
 Working with Color
THE BASICS
Remember your first box of crayons? If you do,
you might recall mixing your primary colors
and creating secondary colors: Red and yellow
make orange, yellow and blue make green, and
blue and red make purple. When we add these
colors together, we get in-between shades, and
when we group all these colors together, we
have a color wheel. The first color wheel was
invented by Sir Isaac Newton in 1672. While
studying white light through a prism, he noticed
that the light reflected a spectrum of colors, in
effect a rainbow. Newton discovered that when
white light passes through transparent medi-
ums of different densities, that light is broken
down into different wavelengths, or colors. We
Figure 6.2 Image courtesy of Renaldo Barnette.
see color because light waves are reflected from
objects into our eyes. Seeing these different hues,
Newton compared them to musical notes. He
complicated print might suggest a photo collage; then eventually arranged these notes, or colors,
digital rendering—Adobe Photoshop and Adobe on a rotating disk to see how they would relate
Illustrator—will be covered in the next chapter. to one another. This color wheel was soon
Rendering techniques can often differ from one expanded to include primary, secondary, and
artist to another, and there is always another way tertiary colors, twelve in all.
to see and render a fabric. However, as with all Primary colors are red, yellow, and blue.
methods, you must practice and experiment in These are source colors, and do not need to be
order to find out what suits you. In other words, mixed; they are the source of the other colors.
you must know the rules before you can bend Secondary colors are orange, green, and violet.
or break them. Each medium will force an artist These colors are made by mixing two primary
to adapt and change, often leading to a new style colors. Tertiary colors are the product of mixing
or approach. This is how an artist or designer a primary color with a secondary color. They are
grows. Once you have mastered a medium, find red-­orange, ­ yellow-orange, yellow-green, blue-
a new one. Through practice, you will not only green, blue-violet, and red-violet. Words like
familiarize yourself with a particular medium, value, tint, tone, and intensity are used to describe
but you’ll also discover which media you prefer, the appearance of a color. Value is the darkness
while refining your own method. A bonus is the or lightness of a color. Adding black to a color
discovery of new ways to communicate. will produce a shade; adding white to a color will

Illustrated Men  186
Figure 6.3a Full color wheel. Figure 6.3c Secondary colors.

Figure 6.3b Primary colors. Figure 6.3d Tertiary colors.

Rendering Techniques  187
produce a tint. For example, pink is a tint of red.
A tone is when gray is added to a color. Intensity,
not to be confused with value, is the brightness or
dullness of color. Warm colors are colors usually
associated with warm things: red, yellow, and
orange. Cool colors are colors that are usually
associated with cool things: blue, purple, green.

COLOR SCHEMES
Colors that work well together are called a color
scheme. A monochromatic color scheme is the Figure 6.4b Analogous scheme.
use of colors of the same hue, but in different
shades or tints.
An analogous scheme is when colors next to
one another on the color wheel are used.
Complementary colors are colors that are
directly across from one another on the color
wheel.
A split complementary is a combination of
a color plus two colors next to the complement:
for example, blue, yellow, and orange.
A triadic combination is a color scheme
where the colors are evenly spaced around the
color wheel. Triadic colors seem to both harmo-
nize and contrast at the same time. Figure 6.4c Complementary colors.

Figure 6.4a Monochromatic. Figure 6.4d Split complementary colors.

Illustrated Men  188
 Figure 6.4e Triadic combination.

­Wet Media
MARKERS
Markers have been the preferred medium for
Figure 6.5
fashion designers for decades, and it’s easy to see
why. Markers are quick and easy, and there are a
vast array of colors to choose from, making the
need to create a particular color almost unnec-
essary. They can be layered with other markers,
blended with marker blenders, or texturized
with color pencils. There are two different types
of markers: alcohol-based and water-based.
Alcohol-based markers contain dye ink and are
the choice of most professionals. Because of the
dye, there is less likelihood of getting streaks, or
lines, in one’s art. They typically have a wider
range of vibrant colors than water-based mark-
ers, dry quickly, and are relatively permanent.
The downside is that alcohol-based markers are
expensive, can dry up fast, can have an unpleasant
smell, and, like most markers, are impossible to
correct with erasers or paint.
Water-based markers are odorless due to
the lack of solvents and will not bleed through Figure 6.6
paper as much as alcohol-based markers, but

Rendering Techniques  189
too much color or pressure and the paper can a brush on the other side. Each brand of marker
warp and damage. They also take longer to dry is different, with its own set of strengths and
than ­alcohol-based markers and are not water- weaknesses. Some markers are matched to the
proof. Many markers come in sets, and while Pantone Matching System, making it faster and
that may appear to be economical, buying a easier to use than paint. Others, like Copic mark-
set usually means purchasing several colors ers, can be refilled, some straight from the bottle.
you will rarely use. It’s better to buy markers You might notice warm-gray markers tend to
individually, gradually building a palette that be slightly reddish, while cold-gray markers are
reflects your own taste or current assignment. slightly bluish. Be sure you test the marker on
You can always buy ­ markers of a particular the paper you intend to use, and then, if possible,
color when needed. check your marker color in color-corrected light.

A few general rules: Thin marker pens such as Sakura Pigma’s

Micron Pen can be used as holding lines, or
­ arker paper: Unlike regular drawing paper,
M as aids in rendering seams, buttons, and other
marker paper is specifically made for markers. It smaller garment details. These fine point pens
is typically a thin, opaque paper with a smooth come in various point sizes and can be bought
coated surface and a treated back that will have as a set or individually. Other fine point pens
little to no bleed when used with alcohol-based include “gel” pens. Gel pens are water-based and
markers. It is essential that you try out different come in white, metallics, and some light colors.
marker papers to see which works best with your Because gel pens are somewhat opaque, these
chosen marker. Different manufacturers will light-colored pens are often used to add texture
produce different types of paper; only by test- or detail to dark colors.
ing them out with a variety of markers will you
be able to see what is right for you. Depend- Technique
ing on the amount of layering and blending, a
marker paper with a smooth front and a coating The simplest approach to rendering with mark-
on the back might prevent the ink from bleed- ers is to think in terms of layering—of first
ing through. If your technique involves heavier putting down a flat color, and then adding
layering, then a thicker paper like Bristol paper another layer of color on top of it. While mark-
might be a better choice. ers are a convenient wet medium, one of their
drawbacks is streaking. If you move too fast to
Marker brands: Some common brands of cover an area, you will create streaks. Instead of
alcohol-based marker include Prismacolor, Copic, a flat tone, you’ll see uneven lines of the white
Chartpak,Tombow, Sakura Koi, Faber-Castell, and of the paper showing through.You can minimize
Sharpie. The list of water-based markers includes this effect by using a blender marker—a blender
Crayola, Sakura, Staedtler, Tombow, Winsor & is a colorless alcohol-based marker that is used to
Newton, Pentel, and Caran d’Ache. Many mark- disperse or blend a marker color. Keep in mind
ers are double- or even triple-sided, with a small that a blending marker is unfortunately not for
tip on one side, and either a larger chisel tip or blending two colors together.

Illustrated Men  190
 You could also lessen the look of streaks by
adding another layer of the same color, creat-
ing a darker or more saturated shade. Just like a
watercolor or an oil painting, or even a digital illus-
tration, building a color by adding layers—with
markers or color pencils, with the same or differ-
ent colors—can intensify (saturate) or strengthen a
color (tone or hue), or help develop shadow and
light (value). Layered rendering can also create
textures, patterns, volume, and dimension. One
can render a figure flatly, creating a highly stylized
fashion drawing, or work realistically, developing a
drawing with depth and weight through shading
and highlights. Markers work well for that particu-
lar effect. However, these are choices that must play
out through experimentation and testing. Marker
nibs will dictate what type of stroke you get. Chisel
tips, useful for covering large areas, can create thick
or thin lines depending on the angle of the nib.
Fine-tip nibs are good for filling in details or small
Figure 6.7 Image courtesy of Renaldo Barnette.
areas. Brush-tip markers mimic the thick and thin
stroke of a paint brush. In other words, you must garment, or use a fine point black pen. Be sure
use the markers on a paper you plan to use to see to add folds and shadows either with a darker
what the effect is. Almost all complex renderings color of the clothes, or with a black or dark-
require some planning.That’s just part of the crea- gray pencil. Go over areas of garment details, like
tive process, but it can also be fun. pockets, seams, and buttons, with a fine point
Begin by using a 4H or 6H pencil for the marker (0.1) or a finely sharpened black pencil.
underdrawing on marker paper. Sketch lightly.
Pencils this hard can be used without the pencil WATERCOLOR AND DYES
lines showing; if they do, you can erase them later
with a kneaded eraser. The first layers should There was a time when every fashion designer
always be the lightest shades. By adding addi- and illustrator worked with watercolor or
tional layers of color, either with markers or color gouache. The seemingly endless uses of wet
pencils, you can create more depth and dimen- media seemed a perfect way to communicate
sion; also, it is always easier go darker in tone, the ever-changing look of fashion. The unique
rather than lighter, in a rendering. Start at the nature of watercolors and dyes, that distinctive
top of your drawing and drag the color toward ability to create images through the manipu-
the bottom. When you have finished coloring, lation of washes, brushstrokes, and layers, has
add your outlines in either color pencils, using allowed artists to express themselves in a vari-
black, or a darker shade of the color used for the ety of ways for centuries. Before the invention

Rendering Techniques  191
Figure 6.8 Illustration by author.

Illustrated Men  192
 and intuitive—there is the look of watercolor: its
transparency, vibrancy, dynamism, and elegance.
That is because when we talk about watercolor,
or inks, we’re talking about drawing with water,
color, and brush. Though the medium might be
intimidating at first, once you become familiar
with all its peculiarities and possibilities, you
are certain to enjoy its unique effects. Dyes are
similar to inks, but these concentrated colors are
meant to be diluted with water. The colors of
dyes, even combined with water, are dramatic
and vivid. Dyes work like watercolor and can be
handled in the same way.

A Few Additional Points

­ ou can find the list of art supplies for water-
Y
color in Chapter 2. Even so, there are still a few
other things to remember: Like some other
Figure 6.9 Watercolor illustration by author. media, watercolor can be divided into two
style types: one tight and realistic, the other
loose and spontaneous. A tight rendering will
need precision and planning, typically with an
underdrawing. Areas will need to be marked
of markers in the 1950s, paint was not only the or perhaps masked, and attention to detail—
traditional method of fashion drawing; it was also shadows and highlights—along with garment
the only method. However, since markers and details, will require focus. A loose rendering,
digital programs have become more widely used, on the other hand, will need equal parts spon-
watercolor has become less popular.While mark- taneity and confidence. There may or may not
ers have an attractive immediacy, watercolor takes be an underdrawing. The brush marks you
time: One must often mix colors and consider make must be precise, but also impressionistic.
the effect. It can also be a mercurial and unfor- And then, having said all of that, one must also
giving medium: Mistakes are hard to correct, and allow for the unexpected or happy “mistake”;
it requires a certain level of skill. that is, an accident that can somehow greatly
Nevertheless, watercolor still has much to add to a drawing. With wet media this is bound
recommend it. Aside from the unique kines- to happen, even with some planning, because
thetic experience of painting—the feel of a wet watercolor is so unpredictable. That is both its
brush gliding against the paper, at once exacting virtue and its weakness.

Rendering Techniques  193
 Figure 6.11 Image courtesy of Richard Vyse.
Figure 6.10 Image courtesy of Richard Vyse.

Regardless of your approach, don’t be timid.

As for brushes, different brushes will produce
different effects. A smaller, tapered brush, say a
#0, will cover smaller areas like the face or hands,
but will also work well when painting garment
details. A similarly tapered #4 watercolor brush
can easily cover a ten-inch fashion figure. A
larger, wide, and flat brush is great for covering
larger areas on much bigger drawings. Note that
we’re discussing watercolor brushes, not oil or
acrylic brushes. The successful use of any brush
with a wet medium requires constant practice
and experimentation. Achieving a professional
look depends on mastering not only the materi-
als but, perhaps more importantly, the technique.
One such important technique is “the wash.”

Figure 6.12 Illustration by author.

Illustrated Men  194
 ­Technique
For fashion illustrators in the recent past, the
term “wash drawing” was used to describe a
sketch done in tones of gray. These drawings
were then reproduced in halftones for news-
paper advertisements. But, broadly speaking,
a wash is a simple watercolor technique that
consists of loading your brush with a wet
color and ­applying it evenly on paper, thereby
creating a flat, unmarked, painted area. It is a
technique that is not particularly hard to learn
but does take some practice. For tonal vari-
ations it’s important to remember that the
intensity of a wash depends on the amount
of water added to the color. More water will
dilute the color, making it lighter and trans-
parent, and less water will darken the color,
Figure 6.13a R&B Hermann: Images courtesy of making it opaque. Superimposing several
Fashion Institute of Technology SUNY FIT Library of washes will create darker tones.
Special Collections and College Archives. Since watercolor dries quickly, it is best to
have everything at the ready. Be sure to have
all your material carefully set up before you
begin. It is always a good idea to work on a
slanted surface, either an adjustable drawing
table or a slanted drawing board, alongside a
flat surface for water jars, paint, palette, and
paper towels. Paper towels or clean rags will
be needed to blot excess paint and water. As
discussed in Chapter 2 on art supplies, water-
color paper varies in thickness, texture, and
price, but in the beginning an inexpensive 140
lb. cold-press paper should do. Avoid paper
with too rough a surface unless you plan to
work at a large scale.

Figure 6.13b R&B Hermann: Images courtesy of

Fashion Institute of Technology SUNY FIT Library of
Special Collections and College Archives.

Rendering Techniques  195
Figure 6.14 How to apply a wash.

Illustrated Men  196
HOW TO APPLY A WASH reach the bottom. At the bottom you may
have a puddle. Quickly blot your brush dry,
1. Begin by drawing a variety of shapes (circles, then, using the tip, sop up the excess puddle.
squares, triangles—large and small) on a As the area dries, the wash should be
sheet of watercolor paper. These are the a flat, even tone. It is also possible to repeat
shapes you will use for practice. the process if you want a deeper tone, but
that means working with a thinner wash
2. Using a tube of watercolor—preferably a to avoid streaking, and only once the work
darker color—squeeze a small amount onto is completely dry. Since a wash can’t be
a palette and dilute it with water. Make corrected—and any attempt to do so will
enough to fill in all the shapes. Make tests only further damage the piece—it is best
on a separate piece of paper. (This minor to work quickly and methodically. Once
point is very important: Testing the look of you get the hang of it, the technique will
your watercolor before applying it, making become second nature. With more experi-
sure it is neither too opaque nor too weak, ence, one can create subtle shadows, either
is vital.) Be sure to have your paper towel or with a wet-on-wet approach or by adding
rag close by for blotting your brushes. another tone once the area is dry. Practice
3. Make sure your work is on a slanted surface: and experimentation are key here. As you
It is because of the tilted surface that the work, you will discover how best to control
excess watercolor can be pulled down by the medium before going on to a finished
gravity and the brush, thus avoiding puddles drawing.
and streaks. Using plenty of watercolor on 4. There are several different watercolor tech-
your brush, start with a brushstroke at the niques with which you can experiment, and
top of your shape from the left-hand area. most have to do with brushstrokes. There is
Then move the brush across the top of the the wet-on-wet technique, which produces
shape, all while pulling the excess water, or a soft blurry effect. Begin with either a
wash, to the right. Imagine you are quickly still-damp wash or a wet paper. Start by
reading a text from left to right with the simply making marks with your paintbrush.
point of your brush, and then back again. You will notice the brushstrokes expand
This must be done quickly. If you are too and feather. This technique is useful for
slow, the paint in the wash will settle, creat- suggesting soft textures like chiffon, or even
ing lines once the wash is dry. Dip the fur. There is the dry brush approach. That
brush in your color again and apply the is when one applies a semi-dry, or barely
next stroke, dragging the first and puddling moist, brush on a wet or dry area. This will
it, overlapping the color each time. Never produce tiny brushstrokes that can be used
let your brush go dry, and never go over to describe textures as different as hair or
an area that has already been painted. Work shadows.
as quickly and evenly as you can until you

Rendering Techniques  197
 When using watercolor for figure RENDERING PLAIN WEAVE FABRIC
drawing, one can, with some skill, create
numerous textures and effects (those fabric A plain, or flat, weave is a woven fabric with
textures and effects will be discussed later in vertical warp threads and horizontal weft threads
this chapter). But perhaps the simplest way that create a larger whole. It is the simplest
to use watercolor for a fashion figure is to and most common of the three basic weaves
paint a wash for different parts of a clothed (the other two being twill and satin). The look
figure. For example, in painting a jacket one of plain weave can vary depending on the
might paint a wash on a jacket arm, then ­thickness, texture, and color of the yarn. It has
paint the opposite arm, then the left side no pile, hence the word “flat,” but the fabric
of the jacket, then the right. In this way may have some uneven coarseness due to the
one could wait for a section to dry while size of the yarns. A wool sportscoat (wool being
working on another area, without worrying the most common fabric for men’s suits) would
about the two adjacent areas bleeding into be rendered as a flat color with details and shad-
one another. Another tip is to always end ows, but with few or no highlights, because wool
the wash where natural seams and ends of tends to absorb light.
a garment would occur, thus giving your
drawing a seamless look. Also, by adding TEXTURED FABRICS RENDERED
another layer of wash over a dry wash, you IN COLOR: MARKERS AND
can produce a darker or more intense wash. WATERCOLORS
And by adding a darker tone of your wash
to your figure, you can suggest shadows or Textured fabrics are typically opaque, which
texture. More complicated tonal effects can makes them easier to illustrate. When rendering
be achieved by drawing a wet brush against such fabrics—like tweed, wool flannel, camel
the edge of a still-damp wash edge. This will hair, and gabardine—start with a base color, then
dissolve and blur what was a hard line. focus on the fabric’s look and texture by adding
5. After you have finished, you may want to mid-tones and shadows. Keep highlights to a
clean your illustration of pencil lines. Wait minimum.
until the painting is completely dry before
applying a kneaded eraser over those lines
you wish to remove.

Illustrated Men  198
 Figure 6.15 Step-by-step watercolor rendering—blue
trench coat.

Rendering Techniques  199
GOUACHE can be easily covered up, and it works well with
art that requires precision. Some gouache paint-
As mentioned in Chapter 2,Gouache (pronounced ings can even rival digital art in their clarity and
gwash) is a type of water media. The biggest brightness.With its relatively quick ease of use, its
difference between watercolor and gouache is flat matte finish, and its ability to reproduce well,
that watercolor is translucent, and gouache is it remains a favorite among many ­illustrators.
opaque. Many artists have used gouache because
of its heavier and denser qualities. It works best
in either flat poster art or gestural and direct A Few Additional Points
paintings. However, gouache can also be watered ­ ne can find gouache in almost any art supply
O
down and used with an almost transparent water- store. The paint can be found in tubes, such
color effect. Both paints consist of pigment and a as in designer series, or in jars of poster paint.
water-soluble binder, but the opacity of gouache Most artists plan their illustrations with a pencil
comes from the white pigment or chalk that is underdrawing, using a heavy watercolor paper or
added. When a layer of watercolor is applied over illustration board. Usually, they mask areas where
a drawing, the light can travel through the paint lines or paint are not wanted with frisket film, an
layer and reflect off the white of the paper, giving adhesive paper, or masking tape. (Note: Mask-
the painting a luminous transparency. A gouache ing or painter’s tape is a type of pressure-sensitive
painting has a flat matte finish that leaves none of tape made with an easily released adhesive. Like
the paper showing. frisket, it is used to mask off borders or areas that
Today, gouache isn’t quite as popular as other should not be painted. Art masking fluid is simi-
styles of paint, though that wasn’t always the lar to frisket but is a liquid-latex-based product
case: For many commercial artists in the past, it that is used to keep small areas of a watercolor
was a quick alternative to oil or watercolor. It unpainted. The rubber prevents the paint from
was, and still is, an adaptable paint, easy to apply reaching the paper and is peeled off with a
with brush, pen, or airbrush. Now its main fault rubber cement pickup. At a pinch, you can use
seems to be that, like all wet media, it can be time rubber cement as a masking fluid. Just allow it to
consuming. But it still has its virtues. Gouache dry and paint over it.) The flat painted areas can
dries quickly and darker than watercolor, it mixes be subtly modeled with darker and lighter appli-
well with other colors, and can be heavily applied cations of the same color, creating texture and
without noticeable brushstrokes. dimension. As mentioned earlier, while gouache
To lighten a color, one simply adds white. is very forgiving, experimentation and practice is
Gouache is also very forgiving, mistakes made strongly suggested.

Illustrated Men  200
Figure 6.16 Antonio. Missoni Spring Summer 1985 campaign, model unknown. Acrylic on paper. The Estate & Archives
of Antonio Lopez and Juan Ramos.

Rendering Techniques  201
 Figure 6.17 Gouache rendering. Illustration by author.

overlay of two or more colors. In short, there is

Color Pencils more to color pencils than one might assume.
Few designers, or illustrators, use color pencils There are two types of color pencils:
exclusively. A large, finished pencil drawing wax-based and oil-based. The wax-based pencil
simply takes too long to finish. However, they is the one most often used. They cover a wide
are an intriguing medium capable of creating range of grades, from softcore pencils to hard-
beautiful effects, particularly when combined leaded sticks. They also come in a wealth of
successfully with pens or markers. The charac- colors, and in all shapes and sizes. Wax-based
teristics of color pencils combine the fluid line color pencils are more durable, given their harder
of a graphite pencil with the tonal variations and cores, and are less expensive than oil-based
color of watercolor. Besides linear drawing, there pencils. Oil-based color pencils are messier, as
is the ability to create different effects with the their description might suggest. While the effect

Illustrated Men  202
 Figure 6.19 Marker and color pencil design illustrations
Figure 6.18 Red man. Illustration by author. by the author.

is often beautiful, it might be considered too pencils, you’ll certainly notice the difference.The
troublesome for a fashion sketch, because despite best color pencils will move effortlessly across
the apparent hardness of the core, the applica- the paper instead of dragging, and their colors
tion will smear. On the plus side, an oil-based will also have a noticeable richness and vibrancy.
color pencil will quickly dispense color over an They’ll also blend more easily. That is a quality
area, so additional layering is not required. But that is useful when paired with markers. Gener-
because they use up more color, they are less ally, when color pencil is applied over a marker
durable and more expensive. Using oil-based base, it is to alter the color or texture of the area,
color pencils is something of a specialized skill, which involves several techniques. Another type
so they are typically used by artists who are well of color pencil is water-soluble; these can be
versed in the medium. Still, it is an option. used for a traditional watercolor effect. Apply
As with all media, there are a range of products the water-soluble pencil as you would any color
available of varying levels of quality. For a begin- pencil.Then, with a watercolor brush, add a layer
ner, cheaper, student-grade materials should of water.This will activate the color, covering the
suffice, but if you can afford the higher-grade white of the paper.

Rendering Techniques  203
Figure 6.20 Antonio, “Follow the Leaders,” GHQ Magazine, James Dean 1977. The Estate & Archives of Antonio Lopez
and Juan Ramos.

Illustrated Men  204
Figure 6.21 DNR San Diego 1976: Image courtesy of Robert Melendez.

Rendering Techniques  205
TECHNIQUE colors over dark, though white pencils are often
the exception to the rule.
The basic techniques of color pencil involve a
combination of shading and line. By using the Hatching: This technique involves making
effects of light and shadow, one can add elements straight parallel lines next to one another. Grad-
of realism to a drawing, suggesting depth and ually, as the lines get closer together and the
form. Since we’re starting with a line drawing pressure increases, the area becomes darker. The
and then adding a flat layer of color with marker, lines can be diagonal, vertical, or horizontal, just
developing a tonal range with various tones and as long as they don’t touch.
hues not only helps to describe the garment,
Crosshatching: This involves crossing the paral-
but also gives weight and volume to the figure
lel lines in hatching, which go in one direction,
itself. Stark contrasts of light and shadow seldom
with parallel lines in another direction.
work with fashion design drawings—they’re too
dramatic. Instead, a gradual progression from light Layering: This is when two colors blend to
to dark, with in-between shadings and highlights, become a third color. Layering isn’t a technique
is more realistic. that is used very often among designers, because
To start, there is the basic back and forth, a way it is time consuming and requires some skill. But
of rendering so elementary, it’s almost instinctive. the effect can be impressive.
Simply move the pencil back and forth until you
Burnishing: This technique involves applying
gradually build a shadow or until you cover the
heavy pressure with a color pencil, flattening
intended area. A pencil color the same color as
the texture of the paper, and filling the space
the marker, but with perhaps a darker hue, will
completely. Some artists use a blending stump,
build depth. By adding a color pencil of an even
some use the pencil, but the end effect should be
darker color, say black, will further deepen the
a polished, glazed look.
shadows and add more contrast. This is perhaps
the most common use of color pencils among Whitening: This is the technique of blending
fashion designers: for the slow building of shad- the colors of your drawing with a white pencil. It
ows and highlights. It is important to remember has the effect of polishing, lightening, and mixing
that the pressure you apply while drawing will the surface colors.This process will also give your
determine the brightness and density of your drawing a glossy creamy finish.
color. As a rule, the lighter the pressure, the Blending with a marker blender: By apply-
lighter the application of color. It is also easier ing a marker blender to a penciled surface, you
to add dark colors over light colors, than light can smooth out the pigment and give the area a
darker and more matte finish.

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 Figure 6.22a Hatching.

Figure 6.22b Crosshatching.

Figure 6.22c Layering.

Figure 6.22d Burnishing.

Figure 6.22e Whitening.

Figure 6.22f Blending with a marker blender on a color

pencil surface.

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 Pastels
­ astels are similar in appearance and consistency
P
to chalk, but softer and slightly more opaque.
Artist’s chalks are generally limited to white,
black, sepia, brown, and sanguine (red-brown),
while pastels have a much wider color palette.
Pastels are rarely used in fashion art, because they
don’t lend themselves to detail work, and for the
newcomer they can be time consuming, unpre-
dictable, and messy. Nevertheless, for editorial
fashion art, pastels can be very effective. There is
a chromatic richness, texture, and boldness that is
very attractive. As mentioned in Chapter 2, there
are two types of pastels: soft and oil. Soft pastels
have a smooth, velvety texture that allows bits
of the paper underneath to show through. Oil
pastels leave a greasy smudge that can be worked
on, usually with water or a turpentine dilution.
This technique is a favorite among artists who
favor a more abstract and painterly representa-
tion of the figure. Given that oil pastels cannot
be blended by rubbing, a turpentine dilution is a
convenient alternative for mixing color. Keep in
mind that whatever pastel you decide to use, your
choice of paper—medium-grained or rough—is
bound to affect the final look of your drawing.

Figure 6.23 Image courtesy of Leonard Cadiente.

@bycadiente.

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 and chance may play a part here, and that is a
Collage and Mixed Media good thing. Play with the elements. Once you
Collage, from the French word coller, mean- think they work, glue the parts in place. As long
ing “to glue” or “to stick,” is an art technique as the art conveys some information about the
involving the assemblage of different images garment, how it looks, and how it’s worn, mixed
and forms to create new art. Collage, or mixed media can be a successful alternative to drawing.
media, often uses magazine or newspaper clip-
pings, along with bits of fabric, photographs,
color paper, sometimes even printed texts and Menswear Fabrics:
found objects. Though an old technique, it Rendering Yarn-Dyed Fabrics
wasn’t until the early 20th century, through
the work of Pablo Picasso and Georges Braque, Whenever we think of menswear patterned
that the art form became popular. While collage fabrics, we generally think of yarn-dyed fabrics,
has most often been created by hand, it is now even if we don’t realize it. Checks, stripes,
being widely used by fashion artists and design- pinstripes, and plaids—these are all yarn-dyed
ers through digital programs like Photoshop and fabrics. Yarn-dyed fabrics are exactly what they
Illustrator. sound like: fabrics that are dyed and then woven
Collage can be a dramatic way of creating into a cloth. The surface pattern is literally part
fashion art. Because handmade collages require of the fabric. To render yarn-dyed woven fabrics,
cutting and pasting, thereby creating work that it is best to start with a grid. These patterns, like
is almost three-dimensional, there can be a high checks, plaids, tweeds, and herringbones, should
level of involvement. Combining textural forms be planned, typically with a grid.The goal should
with abstraction, collage, and mixed media allows be to simplify a pattern as much as possible, and
one to create art that is outside of the usual to render the scale of the pattern accurately.
conventions of fashion art. This is especially true Keep in mind that there are many ways to render
for editorial art, where the idea of the garment fabrics. Techniques will vary depending on the
is more important than an exact representation. media and the fabric being rendered.
Begin with a pencil sketch of a clothed
figure, then start cutting out forms with colored DEVELOPING A SWATCH LIBRARY
paper, magazines, or fabrics. The shapes you cut
out should exaggerate and yet somehow mimic Before you attempt to render a fabric, it is
the silhouette of the figure. Think in terms of important that you have a sizable swatch to study
contrasts: light and dark, rough and smooth, and work from. Keep in mind that your swatch,
symmetry and asymmetry, and, above all, compo- depending upon the pattern, will almost certainly
sition. Constantly move the shapes around until have to be scaled down. To that end, it might be
they coalesce into a dynamic image. Instinct helpful to have either an actual garment with

Rendering Techniques  209
 Figure 6.25 Image courtesy of Geoffry Gertz.
geoffrygertz.com.

Figure 6.24 Image courtesy of Gary Kaye. Gary Kaye /

view-publications.com.

Figure 6.26 Image courtesy of Gary Kaye. Gary Kaye / view-publications.com.

Illustrated Men  210
Figure 6.27 Pink suit.

Rendering Techniques  211
a similarly scaled pattern or a photograph of a retrace the grid onto the marker paper and your
garment with the pattern. The best approach is intended finished figure. There are three ways
to try and copy a real fabric swatch as closely to interpret a surface pattern: Draw the pattern
as possible. Start by rendering the fabric to the following the curve of the body (this is the more
same scale as the swatch. Once you’ve repli- realistic approach); draw the pattern flatly, with
cated the fabric, it should be easier to render the the straight lines letting the outer lines define the
fabric at a smaller scale. Recreating the fabric in form; or only partially draw the pattern on the
a reduced scale may require simplifying it, but garment, letting it fade off into the white of
that’s not necessarily a bad thing.Your aim should the paper. If done correctly, this effect should
be a straightforward reinterpretation, rather than look like there is extreme sunlight on one side
a photographic copy. of the figure.
Most fabric stores have policies and set aside Assignment: Practice rendering the patterns
times for purchasing fabric swatches, and there described.
are, of course, online resources that might Materials:
prove useful when searching for vintage fabric – Tracing paper
swatches, but research is key. You might also – Marker paper
invest in a fabric swatch library. Like the refer- – Gray marker: #5 or 40%, dual point (for the
ence or swipe file mentioned in Chapter 2, a planning stage on tracing paper). For the finish,
swatch library can be a convenient and reliable use whatever colors are part of your design or
resource. Categorize your fabrics by patterns, existing garment.
weights, or any other type. Filed and notated, – Black color pencil and additional color
your curated fabric library will make it easy for pencils for shading and texture.
you to pick and choose a particular fabric when- Begin by copying any of the patterns in the
ever needed. fabric swatch boxes, then scale them down and
place them on a figure.Your initial figure should
be one with a simple, easy-to-understand pose.
Pattern and Texture Feel free to change the colors but not the grid
RENDERING SIMPLE WOOL pattern. Remember: Before rendering any
PATTERNS pattern on a figure, make sure you plan how
the pattern will look in terms of its scale and
Almost all simple two-color patterns—gingham position. Different parts of the garment may
check, pinstripe, houndstooth, herringbone, and require a different positioning of the pattern;
Glen plaid—can, and perhaps should, be created for example, the collar, lapels, and pockets. Plan
with a grid. Start by placing a sheet of tracing your grid on tracing paper, tracing out the figure.
paper over the figure and area you plan to render. When you are sure of the proportions and scale
Analyze the pattern and its scale before you of the pattern, retrace the figure and the grid on
create the grid. Carefully draw the grid lightly marker paper. In finishing the drawing, use mark-
in pencil. Once you are confident of your grid, ers for the overall color palette, and pencils and
gel pens for fine lines and details.

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 Gingham Stripe Plaid

Herringbone Floral Pinstripe

Corduroy Window pane plaid Glen plaid

Houndstooth Tweed Buffalo plaid

Figure 6.28 Glossary of fabric swatches.

Rendering Techniques  213
­Figure 6.29 Figures wearing pinstripe and houndstooth
fabrics.

Figure 6.30 Figures wearing pinstripe and houndstooth

fabrics.

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 Figure 6.31 Creating a plaid figure step by step.

Rendering Techniques  215
Figure 6.32 Three fabric renderings
in marker and color pencil.

Illustrated Men  216
 Figure 6.33 Rendering fabrics: navy jacket and yellow pinstripe
pant.

Rendering Techniques  217
 Figure 6.34 Rendering fabrics: pink jacket with black
floral T-shirt and white pants.

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 Figure 6.35 Rendering fabrics: lime green coat over
pink and white shirt with yellow print shorts.

Rendering Techniques  219
Figure 6.36 Rendering fur.

Illustrated Men  220
 Figure 6.38 Rendering fur.

Figure 6.37 Image courtesy of Tyler Bubb. Figures by Tyler illustrating furs. Begin with a pencil drawing that
Bubb, 2021.
emphasizes size. Look for the shadows and high-
lights. In mink, or sable, you will notice a denser
shade in the center of the pelt, with the color
RENDERING FUR
becoming lighter as the fur thins out. Notice,
There are, of course, many different types of fur: too, the direction of the hairs on the fur. The
chinchilla, shearling, fox, sable, and minx. There combined light and dark, along with the length
are also faux, or fake, furs. But most fur, apart and direction of the hairs, will supply you with
from short-hair furs like Persian lamb or leopard, all the information you need. Once you’ve added
have volume and size. When we think of luxu- the basic color and shadow, add pencil lines,
rious furs, we think of big, plush, e­xaggerated black, white, and any other colors you see, indi-
shapes. And that is what we should aim for when cating the hair.

Rendering Techniques  221
 Figure 6.39 Rendering animal print.

Illustrated Men  222
PLAIDS, STRIPES, AND CHECKS Plaids, gingham, and checks are like stripes,
except that the stripes now travel vertically and
The aim in illustrating a fabric is often to capture horizontally. Each of these fabric patterns are
the look of a particular pattern. However, while based on straight lines. Take a close look at your
there is always more than one way to render a fabric, then start by creating a grid. Remember
fabric, in the beginning it is probably best to to size your patterns to fit the scale of the body
begin with a simple and tried-and-true method. you’ve drawn. Decide if your pattern will follow
Once you become more familiar with the mate- the contours of the body, or if you plan to render
rials and the general approach to rendering, you the pattern as a flat shape within the figure. If
may find other ways of achieving the similar you decide to create a flat pattern, remember to
effects. use shading to add depth and form. Begin by
Stripes are simply repeated lines that create a drawing either the top-to-bottom stripe or the
graphic whole. Stripes can be thick or thin, and left-to-right stripe. Once you’ve finished stripes
the look of stripes can be affected by both the in one direction, then draw them in the opposite
fabrication and the cut of the garment. For exam- direction carefully observing the distance of the
ple, woven stripes on a man’s button-down shirt lines from one another. Follow up with a base
will be crisper and appear more uniform than color and then carefully build the plaid with weft
stripes on a jersey cotton long-sleeved T-shirt. and warp color stripes and boxes. Intersecting
Always make sure that the stripes are equidistant thinner lines in darker or lighter colors can be
from one another and that the stripes are of a added with color pencils, thin lines of gouache,
uniform thickness. Creating an underdrawing of or opaque gel pens.
a grid will ensure uniformity.

Rendering Techniques  223
 Figure 6.40 How to render plaids, gingham, and other
menswear fabrics.

Illustrated Men  224
 Figure 6.41 How to render a windowpane fabric.

Rendering Techniques  225
RENDERING FLESH TONES e­ xample, a white or light color garment might
be shown to its best advantage by pairing it with
There are probably a million different skin tones a darker skin tone, and a darker garment might
in the world, so the first thing one must decide have the requisite graphic punch when using a
is which flesh tone looks good with the colors model with a lighter skin tone.Whether working
you’ve chosen for your design or illustration. with markers or watercolor, be sure to test your
Other than the choices based on the wishes of choices beforehand. You might create a page of
a client or personal preference, there is also the skin tones with the marker color name and brand
purely graphic choice. That is when you choose so that you can quickly and easily choose the
a skin tone that highlights the color palette of color you want. Or alternatively, you can premix
a particular garment or design concept. For watercolor versions of skin tones and label them.

Illustrated Men  226
 Copic marker skin tones

1 2 3

Base - E00 Base - E-21 Base - E11

Shading - E-21 Shading - E-11 Shading - E-15

4 5 6

Base - E-51 Base - E-31 Base - E-34

Shading - E-31 Shading - E-34 Shading - E-15

7 8 9

Base - E-33 Base - E-35 Base - E-57

Shading - E-35 Shading - E-57 Shading - E-59

Base - E-49
Base - E-59 Shading -
Shading - E-49
Black highlight

10 10% cool gray 11

color pencil

Figure 6.42 Marker combinations for skintones.

Rendering Techniques  227
ALL-BLACK RENDERING
There are several ways to render black: One
can simply apply the color as a solid, or, to add
more tonal values, one can add a layer of black
over a dark-gray area. In a stylized rendering, an
all-black drawing with white lines indicating
seams and garment details can be striking, but for
garment renderings requiring shadow and high-
lights, layers of gray using black as an overlay will
create the best effect.
Three images: one in marker and watercolor
wash and the third in color pencil.

Figure 6.43b Rendering black fabric in color pencil.

Image courtesy of Francisco J. Cortés.

Figure 6.43a Rendering in black marker and watercolor.

Illustrated Men  228
 of gender. Markers and color pencils can
Sheer and Shiny Fabrics easily imitate the transparency of such fabrics.
RENDERING SHEER FABRICS As in rendering with other media, layering is
important. Parts of the body should be visible
Sheer fabrics like chiffon, lace, and various
beneath the fabric, and there will probably be
meshes have traditionally been worn by women,
several different values of color depending on
but times have changed. Many menswear design-
the number of sheer layers against the skin. The
ers are less hesitant to embrace such formerly
final look should be soft and airy, with thin lines
gender-specific material in their designs and
­
suggesting fragility and transparency.
are willing to explore less conventional ideas

1
Start with the shape
of the skin tone of
the body. Leave
some white
of the paper for
highlights and
contrasts.

3
Add a holding
line in pen. Add
additional shadows
and folds in a
black color pencil.

BLACK
LACE
2
Add a light gray tone
in the shape of the
garment. Where
there are shadows
and folds, use a
darker tone of gray.

For netting use

crosshatching, Lace fabric with a mesh
add black roses netting and an embroidered
as as an embroidered rose motif.
motif.

Figure 6.44 Rendering transparent fabrics.

Rendering Techniques  229
 Figure 6.45 Rendering transparent fabrics.

LEATHER AND OTHER SHINY FABRICS

As discussed previously in Chapter 4, shadows and
highlights will look different depending on the
texture, flexibility, and weight of the fabric. There
is a marked difference between the shine of leather
and the shine of satin. Something shines when an
object, or in this case a fabric, reflects light. Fabrics
with a “hard” surface like patent leather or embel-
lishments like sequins and beads, have highly
reflective surfaces. Fabrics with a “soft” surface,
like velvet, absorb light, creating more subtle
highlights and mid-tones. Rendering shine on
a figure means being aware of those areas of the
garment closest to the light source. In a leg thrust
forward as in a contrapposto pose, for instance, the
planes of the upper thigh would catch the light,
while the rear supportive leg would be in relative
shadow. Shadows would be created in the recesses
of the folds below the knee, with light hitting the
tops of those folds. As always, observation is key.
Using live models or photographs to study and
analyze the various types of shiny fabrics can only Figure 6.46 Walking figure in red hat and black leather
help one replicate the effects in a fashion drawing. jacket.

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 Figure 6.47 Rendering a leather jacket, step by step.

Rendering Techniques  231
 Figure 6.48 Rendering a nylon puffer jacket.

Illustrated Men  232
Figure 6.49 Rendering sequin pants.

Rendering Techniques  233
 of a garment. These rigorously accurate draw-
Repeat Patterns ings are usually used to create tech packs. (Note:
A repeat pattern is just as described: It is a pattern Tech packs are what they sound like: packets
with a motif that is repeated either vertically, hori- that contain all the technical components and
zontally, or randomly, without a break in design. instructions needed by a manufacturer to finish
Typically, a motif (a single element or group of a garment—fabric, grading, seams, colorways,
elements) is created as a “tile” of artwork that is measurements, trims, labels, etc.—and are given
then duplicated again and again. The different to technical designers or patternmakers.They are
types of repeats are one-way, two-way, half- also used by buyers, salespeople, and production
drop vertical, half-drop horizontal, and teams, so they must be as specific and readable as
tossed. (Be aware that every pattern has its own possible.) There are different ways to draw a flat;
unique look and size; scale and proportion are however, the thing to remember is that the flat is
key.) In order to render a pattern convincingly, less a figurative drawing than a precisely detailed
you must closely observe and reduce the size of plan for a garment, so silhouette, construction
the pattern so that it fits the size of your figure details, fabric indication, and proportion are
or flat. You can do this by photographing the important. Instead of using a nine-head fash-
patterned garment on a model and using it as an ion figure, the figure template for a flat would
accurate measure of scale, or by finding a similar be closer to an eight-head figure. Flats should
pattern on a figure in a photograph and using include all design details: seams, topstitching,
that as a guide. A successful rendering of a print pockets, buttons, and buttonholes, and additional
is one where the print is recognizable, readable, features like pleats or darts. Back views should
and in proportion. Remember: Your rendering also be included for a better understanding of
is an interpretation of the print, not an exact the garment.
copy. When drawing a pattern manually, either A float is a more stylized version of a flat.
on a figure or a flat, it is best to begin with a grid. The garment drawing will appear more three-­
Alternatively, many designers create their repeats dimensional because its proportions are more
digitally by using the Offset filter in Photoshop, like a fashion figure, but without an actual body.
or the Pattern Options Panel in Illustrator, and While they are often used in portfolios and pres-
incorporate the digital pattern repeats into their entations, they are never used in tech packs.There
illustration accordingly. is also a kind of hybrid “floating flat.” These
drawings are not quite as stylized as floats and
not as rigid as flats. These sketches have a more
Technical Drawings: Flats expressive fit and silhouette in their appearance;
and Floats they may have shadows and movement lines, and
they are often colored. These types of drawings
A flat is an exact black-and-white technical have become popular because they are easy to
drawing of a garment as if it were laid out flat visualize and understand, and as such they are
on a table. A flat sketch is essentially a blueprint used by buyers, salespeople, and merchandisers.

Illustrated Men  234
 Stripe Abstract geometric Geometric

Chintz Paisley Conversational

Hawaiian Ditsy floral Medium-scale floral

Large-scale floral Cheetah Foulard

Figure 6.50 Repeat patterns.

Rendering Techniques  235
 One way Two way

Half-drop
REPEATS shift

Half-drop horizontal Tossed

Figure 6.51 Repeat patterns. Apparel fabrics generally use non-directional repeats for more efficient use of yardage.

Illustrated Men  236
Figure 6.52 Repeat patterns.

Rendering Techniques  237
Figure 6.53 Repeat patterns. Figure 6.54 Repeat patterns.

Illustrated Men  238
HOW TO DRAW A FLAT required size. The drawing will then tighten up,
with garment detailing appearing clearer and
Though flats can be drawn digitally—to be more precise. Carefully draw half the garment in
covered in the next chapter—it is best to pencil, then fold over the drawing and trace the
begin practicing this technique by hand to other half. This will give your flat a straightfor-
best ­familiarize yourself with the concept of ward symmetry. Absolute symmetry isn’t always
translating a three-dimensional garment into a necessary: A sleeve can be folded creating some-
two-dimensional drawing. Begin by using your thing that looks less clinical. Add details. When
template as a guide, trace your garment on the you are finished with your pencil underdrawing,
template body (you can use an existing figure, you can then go over it with a fine line marker,
but it is often best to use your own). Be sure to outlining your drawing with a slightly heavier
use the same template for all your flats for scale line marker. When finished, erase your pencil
and consistency. Starting with a larger drawing lines with a kneaded eraser.
will allow you to reduce the finished flat to the

Figure 6.55 Artwork by Cody Cannon, 2019.

Rendering Techniques  239
Figure 6.56a Hand-drawn flats by Renaldo Barnette.

Illustrated Men  240
Figure 6.56b Hand-drawn flats by Renaldo Barnette.

Figure 6.56c Hand-drawn flats by Renaldo Barnette.

Rendering Techniques  241
Figure 6.57a Hand-drawn flats by Renaldo Barnette.

Figure 6.57b Hand-drawn flats by Renaldo Barnette.

Illustrated Men  242
Figure 6.58 Artwork by Cody Cannon, 2019.

Rendering Techniques  243
244
 ­7
Digital Art

F
or many designers and illustrators, work- and laptops, whether you use digital programs
ing across the digital platform has become in your art or not, one can’t deny the power
as essential to their work today as the and possibilities of this new reality. At the very
charcoal stub was to artists 100 years ago. least, a familiarity with digital media is absolutely
The tools and functionality of the various apps essential for any designer or illustrator working
and types of imaging software have introduced today. Nevertheless, though the way we express
exciting new ways of drawing and painting. ourselves visually may have changed, the basic
These digital media, when paired with the skills of an artist or designer haven’t. One must
seemingly endless resources of the internet, can have a solid foundation of the principles of art
provide unlimited options for self-expression. and design as well as a good eye, solid drafts-
Software such as Photoshop and Illustrator, used manship, imagination, and skill. Whether you are
on the computer and paired with touch screens finger painting on a cave wall or gliding a stylus
or tablets such as Wacom and other devices, as across the glass surface of a tablet, you are still
well as apps like Procreate, Tayasui Sketches, and using the same lines, smudges, dots, and brush-
more, allow for endless brush techniques. These strokes that humans have been using to describe
can be used alongside pressure-sensitive touch the world around us for thousands of years. The
screens or pencils such as Apple Pencil for a real- look of the drawing utensil may be different, but
istic, intuitive drawing experience. the mark, and what it represents, is the same.
Given that most of the world communicates The basic concepts of figure drawing: Anat-
digitally through texts and emails, smartphones omy, line, shape, balance, and movement have
been discussed and examined in earlier chapters.
By understanding and incorporating these ideas
into your digital drawings, you should be able to
Figure 7.1 Image courtesy of Rosario Catrimi.
Toulemonde. create compelling fashion art that communicates

245
 what you are trying to say. Many artists today
combine both analog and digital techniques. The
important thing is to be open to new ways of
communicating visually, while also remaining
coherent. Never forget that the clothed figure is
your subject.
Since our primary focus is on the male fash-
ion figure, it is best to focus on those programs
and options that will help you achieve your
goal. Like all art media, the more familiar you
are with a particular software or app, the more
likely you are to experiment. For artists who are
just learning to draw, or even for an experienced
artist of many years, there may sometimes be a
steep learning curve when it comes to digital
art. Learning and using any totally new media
can be challenging. Experimentation leads to
discovery, and discovery leads to skill building
Figure 7.2 Image courtesy of Brian Lane. and confidence. By playing with brushes, layers,

Figure 7.3 Image courtesy of Carlos Aponte.

Illustrated Men  246
 mimic the effects of several media, but you can
also amend or delete lines, or brushstrokes, with a
quick press of the button, all without getting your
hands or your workspace dirty.

­D IGITAL DRAWING APPS

The Procreate digital illustration app is
undoubtedly one of the most popular among
professionals and students when combined with
an iPad or similar tablets. With its suite of art
tools and creative features, one can create work
that looks convincingly as though it was created
manually. One of the most powerful features
of the app is the array of Brushes. There are a
wide variety of brushes, and each brush has a
Figure 7.4 Image courtesy of Rosario Catrimi.
Toulemonde. different paint texture. There are pencil brushes,
charcoal brushes, and watercolor paint brushes,
tools, and options, you can expand your skill set just to name a few. All the brushes can easily be
while discovering what works for you and what altered by opacity and size, and depending on
doesn’t. how much pressure you apply, you can enlarge
or diminish the width of a brushstroke, just as
you would with a real brush. Tilt the brush one
Creating Digital Freehand way for one effect and hold it for a different
Drawings stroke. If, say, you are using a painting app like
ArtRage, when you increase the pressure using
Just as a good fashion illustrator is an entire fash- the oil paint brush, the visible amount of the
ion editorial department in one person—a model “paint” and the thickness and opaqueness of the
coordinator, hair and make-up person, fashion paint being applied increases, looking exactly like
editor, and art director—an iPad and an Apple an impasto brushstroke. As with most software
Pencil can be as close to a complete art studio and apps, Procreate allows you to customize your
as one can get. Everything is at your fingertips gesture controls and settings, so the experiences
in this “portable” studio: pencils, paints, erasers, are personalized to your preferences.
endless surfaces, and effects. The main a­ dvantages Layers: We discussed layering as a technique
of digital drawing over traditional art are the in the previous chapter. To layer something is to
ease of ­redrawing and experimenting with non-­ gradually build a color with additional layers of
destructive edits. With a stylus, or digital pencils light or dark color. This is true in almost every
like Apple Pencil, you can draw as if you were using medium: watercolor, markers, or color pencils.
a real pencil, with gradations of tone and density It is also true in digital art. Digital layers are
that mimic graphite or charcoal. Not only can you stacked on top of each other to separate parts of a

Digital Art  247
Figure 7.5 Image courtesy of Clifford Faust.

Illustrated Men  248
 Figure 7.6 Armando Gabral in Raf Simons suit, 2008. Image courtesy of
George Gozum.

p­ ainting or drawing from each other. It might be changing the whole drawing. For digital
helpful to think of these layers as stacks of trans- collages, different surface textures, fabrics, and
parent paper. The layers overlap with each other, patterns can be scanned, saved, used, and edited
adding depth to an illustration. Depending on independently, mimicking traditional collage
the density of the layers, the effect can be subtle techniques. For advanced editing, there is also
or bold. One of the real advantages of working the ability to save parts of a drawing that you
with digital layers is that, using clipping masks, like—say, a hand or a head—and then cut and
opacity, adjustments, and blending modes, you paste those parts into a new document and finish
can experiment endlessly with how the layers the drawing there. In the past this was done to
respond to one another, creating multitudes of manual art with white-out paint, scissors, and
possible combinations of effects. paste. Now such corrections are immeasurably
Of course, the basic and most essential bene- easier. Once finished, one could save the draw-
fit of layers is that one can use a rough sketch ing by making a duplicate, and then experiment
or image as a guide for the layers above. When with other versions of the drawing. As with any
finished, you can delete the underdrawing layer. medium, exploration and experimentation are a
Backgrounds can be changed or kept w ­ ithout must, and you’ll probably have fun doing it.

Digital Art  249
Figure 7.7 Image courtesy of Velicia Gourdin.

Illustrated Men  250
Figure 7.8 Image courtesy of Carlos Aponte.
Figure 7.9 Fingers Crossed, 2015. Image courtesy of
George Gozum.

has a good range of paper surfaces, and if you

Other Drawing Apps up-grade you’ll have access to over 150 brushes,
Sketchbook by Sketchbook Inc.: When three-dimensional paint, fluid watercolor, a
this application is downloaded, it will give you “wet” canvas tool, and dozens of other tools that
a quick tutorial of where all the basic tools are. you can customize.There are other drawing apps,
A favorite feature is the easy way it transfers of course: Tayasui Sketches Lite, ArtFlow, Adobe
your hand-drawn sketch to the screen. Once Illustrator Draw, SketchBook, Adobe Fresco, and
you’ve made a drawing, your camera doubles Krita, to name a few. Again, your choice will
as a scanner, so you can import your art. The depend on your skill set, your budget, and your
image imports with a transparent background student or professional needs.
so you can begin finishing the work in the app.
Art Set 4 is another well-liked basic drawing
app. Because it feels like the physical tools you Converting Hand-Drawn
would use manually, this app is considered best Figures into Digital Design
for those new to digital illustration. It is free to
download, but most of its tools are unlocked
Sketches
through Premium Pro features, which have an Many find it easier to draw a figure in pencil and
additional fee. The main attraction of this app is then color it through Photoshop than to create
the ease with which the tools work together. It the figure digitally from scratch. That’s because

Digital Art  251
Figure 7.10 Image courtesy of Ricola Wille.

Illustrated Men  252
 drawing the figure by hand and then rendering
it digitally can feel both familiar and intuitive,
like coloring a black-and-white figure in a chil-
dren’s coloring book. Scanning and retouching
a hand-drawn illustration and then retouching
or editing it is a relatively easy way of enhanc-
ing your artwork. One simple technique, if time
is limited and you need a shortcut, starts by
creating a pencil drawing. Once the drawing is
finished, tape it to a lightbox or any light source.
By taping a sheet of vellum or a thin sheet of
watercolor paper on top of your drawing, you
can then add your color wash, using the draw-
ing underneath as a guide. Then scan both the
drawing and the wash and merge them as sepa-
rate layers in a Photoshop file. By setting the
top layer to “Multiply,” you can now refine your
drawing by resizing, color correcting, or other-
Figure 7.11 Image courtesy of Rosario Catrimi. wise enhancing it by using any number of effects
Toulemonde.
from the graphic software toolbox (the pen tool,
brush tool, color enhancement, eraser, etc.).

Figure 7.12 Image courtesy of Mitchell Van Au 2021.

Digital Art  253
 Figure 7.13 Image courtesy of Mitchell Van Au 2021.

Another way to digitally render a hand-drawn

figure is to use another Photoshop function,
Waro, or Puppet Warp. While the basic warp
function allows you to shape a part of your
drawing using a basic grid, the Puppet Warp tool
lets you twist and distort elements using more
realistic precision. Scan a fabric or color wash,
layer it onto your figure, and select edit; then
choose either Warp or Puppet Warp. For Puppet
Warp, you’ll need to add “pins” for where you
wish to create movement; then you can “drape
the fabric” across the body as one might with
an actual tailor’s dummy, giving your illustration
a more rendered, three-dimensional look. Once
you are satisfied with the placement of the fabric,
you can then add shadows and highlights for an
even more three-dimensional effect.
Figure 7.14 Image courtesy of Jusun Lee.

Illustrated Men  254
Figure 7.15 Promostyl menswear illustration image courtesy of Mengjie Di. Mengjie Di—Promostyl.

Digital Art  255
 Figure 7.17 Author, hand-drawn, and digital illustration
Figure 7.16 Image courtesy of Tyler Bubb, 2021.
using Puppet Warp.

Procreate also offers transformation tools and specifications); these drawings allow manu-
layers, so that the various elements of a figure and its facturers to produce a garment from the
hair, skin, and clothing can be rendered and edited image alone. Vector-based graphics, like Adobe
in layers on top of the original line drawing. It’s Illustrator, CorelDRAW, Manga Studio, and
worth mentioning here, too, that while Illustrator Photoshop, create geometric formations called
is a vector program more commonly known for its “objects.” Using points and line segments,
technical features, it is also a strong tool for illustra- myriad shapes and cures can be created and
tors. Illustrator offers many powerful and intuitive edited.These programs can create drawings with
brushes, effects, and layering features worth explor- perfect symmetry, clean lines, and true-to-life
ing to create illustrative and emotive artwork. proportions, while also quickly communicating
information. Sophisticated digital drawing tools
like these are essential in drawing digital flats. A
Developing Digital Garment successful flat is one in which a patternmaker, or
sample machinist, would be able to assemble a
Flats garment from the image alone. Technical draw-
Digital flats, like the hand-drawn flats discussed ings are always made after the design has been
in the previous chapter, are also known as tech- produced.
nical drawings or specs (short for ­ technical

Illustrated Men  256
Figure 7.18 Image courtesy of Bradley Erickson.

Digital Art  257
Figure 7.19 Flat illustrations by Bradley Erickson. Figures by author.

Illustrated Men  258
­Figure 7.20 Image courtesy of Isabella Burgio. MLMR Capsule Collection by Isabella Burgio.

Digital Art  259
Figure 7.21 Image courtesy of Isabella Burgio. MLMR Capsule Collection by Isabella Burgio.

Illustrated Men  260
Figure 7.22 Image courtesy of Isabella Burgio. MLMR Capsule Collection by Isabella Burgio.

Digital Art  261
Figure 7.23 Image courtesy of Emee Mathew.

Illustrated Men  262
 Figure 7.24 Image courtesy of Emee Mathew.

Figure 7.25 Image courtesy of Emee Mathew.

Digital Art  263
Figure 8.1 Francisco J. Cortés.
­8
Profiles
FEATURING
– Cody Cannon

– Carlos Aponte

– Mengjie Di

– Brian Lane

– Ryan McMenamy

– Emee Mathew

– Francisco Cortés

265
 CODY CANNON

How would you describe your current is a modern illustrator that inspires me greatly;
profession? there is a fluidity and energy to his lines that I
At the time of writing this, I am looking for hope to one day come close to in my own work.
work in Menswear Design or Concept Design. As for fashion design, I think the most
Unfortunately, I graduated from a fashion design personally influential names in my catalog of
program at a time when opportunities were inspiration are menswear designers Christo-
few and far between due to the COVID-19 phe Lemaire, Issey Miyake, Woo Young Mi, and
pandemic, making it very difficult to “break into” Giorgio Armani. Phoebe Philo’s womenswear
the industry. also deserves a place on that list; her work with
Celine, particularly her silhouettes, was a reve-
What artistic training have you had? lation.
Earlier in life, aside from the standard art classes in
public school, I attended a small art school from How would you describe your illustration
grades seven to nine. There, I had several classes style?
a week in drawing, painting, sculpture, etc. Many The first word to come to mind is “detailed.”
years later, I attended the Menswear Design Prior to fashion design, I primarily drew with
program at the Fashion Institute of Technology graphite and ink, aspiring toward the highly
in New York, where I took classes in life drawing detailed European engravings I was so inspired
and fashion illustration under inspired professors, by. This has bled into my fashion illustrations,
one of whom was the author of this book. though, as my style develops, I hope to “econ-
omize” detail and let my lines and brushstrokes
­ hat artists and/or menswear designers
W flow to better communicate the drape I prior-
have inspired you? itize in my clothes.
Though unrelated to fashion design or illustra-
tion, I’ve always been enamored by European What type of medium do you usually
sculpture and engravings from the 16th to 18th work in?
centuries. There is a presence, a power, and a I sketch far more often than I complete fully
grace to these works, along with an exaggeration rendered figures, and when sketching I use a mix
of musculature and anatomy, that I must imagine of graphite, charcoal, chalk pastel, brush pens,
has guided my efforts in menswear illustration. and microns. For full illustrations, I prefer water-
Bernini, Michelangelo, and Hendrick Goltzius color, with colored pencil where sharper detail
come to mind as the big names. Richard Powell is needed.

Illustrated Men  266
How important is drawing in your work? designs themselves, I prefer to work on paper
I am a huge believer in exhaustively sketching out or a dress form.
ideas in the development stages. The simple fact
is: Experimenting with ideas (silhouettes, lapel What, in your opinion, makes a good
and collar shapes, seam details, etc.) is a much fashion drawing?
faster process on a page than it is on fabric. By Clear communication of the attitude, energy, and
the time I cut anything, even for draping or for style of the design. The pose should suggest the
a mock-up, I want to have a direction in mind. attitude of the collection, and if a look or piece
is defined by its texture or drape, that should be
How important is the computer in your evident in the medium, line, and stroke in the
work? illustration.
The computer, and digital design generally,
bookends my design work. I use it extensively What is your advice for any beginner
in the research and development of the concept, menswear illustrator or designer?
then again in more technical design finaliza- Draw constantly, always carry a sketchbook
tions down the line. When working out the around with you, and don’t be afraid to try new
mediums.

Profiles  267
 CARLOS APONTE

­ carlosvisualdiary, @_tape_
@
recorder, illustrationdivision.com

How would you describe your current window for Bergdorf, the New York store, and
profession? thanks to my understanding of patternmaking, I
I would describe myself as a creative or an artist. could solve some design elements that had noth-
As much as those words have been used and ing to do with a dress.
abused, they cover more ground for me. Defi-
nitions in the illustration world, art, or even What artists and/or menswear designers
gender have been blurred or changed. I can’t have inspired you?
even describe what I do because of the variety I’ve been fortunate to have met Antonio, who
of the projects I’ve been hired to do. In one year, supplied me with the desire and inspiration for
I can do a children’s book, windows for a store, a my career. Like me, he was from Puerto Rico,
logo for a company, fashion art, or a storyboard and that added to my resolution in succeeding.
for animation. Later, Jack Potter and Anna Ishikawa were two
brilliant artists and professors at FIT and the
What artistic training have you had? School of Visual Arts. Jack’s classes stretched
I trained as a fashion illustrator, but I’ve worn my views to different areas; he made me see
many hats throughout my life. I was painting in things from different angles and be fearless
high school; then I did fashion design, political in my work. He broke the illusion of reality.
cartoons, comic strips, graphic design, learn- Without this idea, I could have never done my
ing a bit of animation and filmmaking, and, of masking-tape fashion art. He revolutionized
course, fashion illustration. I believe, and I have my brain!
the experience to prove it, that one discipline
informs the other. There is a friend of mine How would you describe your illustration
that always tells me that whatever I do is always style?
fashionable. All of that is tied to my training My style? I could describe it as bold, graphic,
in fashion. Recently I was hired to work on a shape oriented.

Illustrated Men  268
What type of medium do you usually work in? What, in your opinion, makes a good
I could use Tombow brush markers one day, fashion drawing?
Posca markers the next, masking tape, ink, brush, A fashion drawing for a fashion designer is about
or digital. I like to try new things. making the idea of a dress alive. A fashion illus-
tration is about capturing the essence of a dress
How important is drawing in your work? and telling a story.
I’ve drawn since I was a kid, and I still do. I need
to practice that basic foundation almost every What is your advice for any beginner
day to stay sharp. menswear illustrator or designer?
Draw constantly, learn from the masters of the
How important is the computer in your past. Fall in love with the language of drawing
work? and its many elements. Make this a meaningful
I use digital for experimenting and my children’s relationship in your life if you are really serious
book; it makes things easy. I don’t particularly about this.
appreciate that I rely a bit too much on it. I like
to have originals and retain my line confidence.

Profiles  269
 ­M E N G J I E D I

How would you describe your current Hokusai, Mao Yan, Yu Hong, etc. The list just
profession? goes on and on.
I am a professor in the Fashion Department at As far as menswear designers go, I enjoy
Savannah College of Art and Design. I have held Damir Doma, Walter Van Beirendonck, Bode,
this position since 2012. Aside from teaching, I Juun.J, Raf Simon in collaboration with Sterling
freelance for fashion companies globally and Ruby, and many more.
create personal artwork.
How would you describe your illustration
What artistic training have you had? style?
I received most of my artistic training from the I have two different illustration styles. When I
fine art school I attended during the first year of freelance for fashion companies, I usually keep
college in China. Other skills have been a result the styles commercial and straightforward. My
of self-teaching and discovering. personal works are quite experimental and
expressive.
What artists and/or menswear designers
have inspired you? What type of medium do you usually
There are lots of artists who have inspired work in?
me through different stages of my creative I work with multiple mediums, including digital,
career. Wassily Kandinsky was the most influ- watercolor, acrylic, oil pastel, graphite, etc.
ential artist during my first year of college. I
did several big studies on his works, including How important is drawing in your work?
Composition 8, Hard in Soft, Original Color Collo- Drawing provides me with an avenue for personal
type, etc. This was my earliest artistic discovery, expression. It also has a calming effect, in that I
and I was obsessed with all his works and art can dive into my drawing and get away from the
theories. As my creative searching has evolved, everyday stresses of life. In the classroom, I enjoy
I have discovered many artists who influenced drawing demonstrations, where I explain tech-
my understanding about art, such as Marlene niques and skills to eager learners.
Dumas, Willem De Kooning, Gerhard Rich-
ter, Michaël Borremans, Georgia O’Keeffe, and How important is the computer in your
more. In recent years, I focus more on Asian work?
artists especially Chinese and Japanese, for A computer is a tool just like pencil and brushes. It
example Lang Shining (Giuseppe ­Castiglione), allows efficient work processes, multiple ­revisions,

Illustrated Men  270
and quick changes. It has become the main tool What is your advice for any beginner
for lots of my works. menswear illustrator or designer?
My advice for a beginner menswear illustrator
What, in your opinion, makes a good is very simple: persistence and determination.
fashion drawing? To reference a historical quote: “Nothing in this
In my opinion, a proper representation of a world can take the place of persistence. Talent
good fashion drawing can demonstrate power- will not; There is nothing more common than
ful emotions and mastery of mediums. A good talented but unsuccessful men. Wisdom without
drawing can leave viewers with a mesmerizing reward is almost as conventional as a proverb.
visual experience. Education will not; the world is full of educated
bums. Persistence and determination are omnip-
otent.” —Calvin Coolidge.

Profiles  271
 BRIAN LANE

@blanedesign

How would you describe your current ­ hat type of mediums do you usually
W
profession? work in?
Currently, I am the Men’s Outerwear Designer Pen and ink, watercolor and marker, color pencil,
for the retailer Brooks Brothers and the Senior and Adobe Illustrator.
Designer of Men’s and Women’s Uniforms
for United Airlines, along with other uniform How important is drawing in your
projects, and I have been the house illustrator for work?
cross-collateral projects for Brooks Brothers for VERY! In my role I must illustrate ideas in a way
the past eleven-plus years. that is readily understood by the widest audience
possible. I work on collateral illustrations for
What artistic training have you had? company advertisements, so the art that I do will
I’ve attended the High School of Art and Design for be seen worldwide.
General Illustration and Design, and Fashion Insti-
tute of Technology (FIT) for Fashion Illustration. How important is the computer in your
work?
What artists and/or menswear designers Very! In the systems here everything is inter-
have inspired you? connected and easily shared: it’s the only way to
On the illustration side, it would be Bob Peak, work these days. It’s a step process that goes from
Frank Frazetta, Jim Steranko. concept to finished product.
On the fashion side, Antonio Lopez, George
Stavrinos, *Lamont O’Neal. What, in your opinion, makes a good
For designers, Armani, Ralph Lauren, Kim fashion drawing?
Jones,Virgil Abloh, and the list goes on. As in any type of art, it must be inspiring and
should draw you in ... And then you see the
How would describe your illustration style? clothing—which always should be “Legible” ...
Sometimes it depends on the assignment ... I’ve If you can do that along with exhibiting your
been loose and sometimes very tight. But I would personal “Style,” you’ve got a winner.
say a bit “Retro,” with a looser hand over time.

Illustrated Men  272
What is the advice for any beginner is worn, or social media. You can always learn
menswear illustrator or designer? something new every day, if you’re open to it.
To study other illustrators and designers.Whether But keep your individual style and be open to
you like them or not. They are at the top for pivoting here and there. That’s what brings out
a reason. Try to understand why. Pay attention the artist’s or designer’s creativity.
to things around you like clothing and how it

Profiles  273
 RYA N M C M E N A MY

ryanmcmenamy.com

­ ow would you describe your current

H How important is drawing in your work?
profession? My work almost only consists of drawing, so it is
I would describe my profession as being both an essential to me.
artist and an illustrator.
How important is the computer in your
What artistic training have you had? work?
I went to Parsons School of Design, majoring in My computer is of almost no use in my work.
illustration.
What, in your opinion, makes a good
What artists and/or menswear designers fashion drawing?
have inspired you? What makes a good fashion drawing to me is the
I’ve always been inspired by the art of early 1900s same as what makes any nice drawing in general.
Paris, especially Toulouse-Lautrec. The drawing Line quality, composition, rendering, gesture,
of everyday street culture combined fashion, attitude, etc.
illustration, and fine art all at once.
What is your advice for any beginner
How would you describe your illustration menswear illustrator or designer?
style? My advice would be to keep at it, and keep
I would describe my work as being traditional drawing.
life-drawing-based but extremely edited and
reduced, leaving a graphic result.

What type of medium do you usually work

in?
When drawing I work in charcoal, and when
painting I work in gouache.

Illustrated Men  274
 ­E M E E M A T H E W

emeemathew.com

How would you describe your current How would you describe your illustration
profession? style?
I used to work as an assistant designer until last I taught myself how to draw by observing and
month. I have moved to Vancouver, Canada, to later from my professors at school who had a
pursue a Post-Baccalaureate in Technical Apparel more traditional formal training. It has always
Design. been a mix between the traditional eight-head
and my tendency to revert to sketching head-
What artistic training have you had? waist-knee proportions.
I didn’t really receive formal training until I
started college. But I was very interested as a What type of medium do you usually work
teenager. So, I started learning by watching tuto- in?
rials on YouTube, reading books, and sketching I usually work with markers. Specifically, Pris-
people on the streets every day for at least 30 macolors. Those were the first markers I ever
minutes. bought, and I still use them.

What artists and/or menswear designers ­How important is drawing in your work?
have inspired you? A picture is worth a thousand words. Drawing
One of the first illustration books that I ever read helps me translate my ideas and has always been
was by Anna Kiper. She was an inspiration to me, a great way to communicate with others. Be it
and in fact I chose to go to Fashion Institute of fit notes, pattern specifications, or even fabric
Technology because she taught there. Another sourcing, I always make quick sketches.
illustrator and designer who inspired me was
Sal Cesarani, whose classes I had the privilege How important is the computer in your
to attend as a menswear student. Designers work?
like Dries Van Noten and brands like Brunello With the transition to offsite learning and
Cucinelli continue to inspire me. working, I switched and starting practicing
more with sketching solely on Photoshop.

Profiles  275
Investing in a better tablet helped, and I spent What is your advice for any beginner
more time learning how to redraw on a differ- menswear illustrator or designer?
ent platform. Practice, practice, practice. It is one of the most
Initially, it used to be vital only to the extent common words of advice out there, but it is
of certain pattern fills and sketch adjustments. also the most vital thing out there. I still spend
every weekend sitting in a cafe or park observing
What, in your opinion, makes a good people and sketching them mid-motion. And the
fashion drawing? more I draw, the more I learn from mistakes and
I have always been a stickler for proportions. improve myself.
Even in school, when the professors asked me to Also, never be afraid to explore different
explore proportion play, I always returned to the mediums, because at the end of the day, if your
traditional proportions I was most comfortable ideas are translated and understood, it is a job
with. well done.

Illustrated Men  276
 FRANCISCO CORTÉS

@franciscoj.cortes, facebook.
com/franciscojavier.
cortesiglesias

How would you describe your current What artistic training have you had?
profession? In matters of drawing and fashion design, as well
Currently, I work as a fashion design teacher at as in my side as an illustrator, I consider myself
the San Telmo School of Art and Design (Malaga, almost self-taught. I have not had specific artis-
Spain). I teach Fashion Design Projects and tic training. I have been drawing since I can
Costume Projects for the Scene. remember, and fashion design has always been a
The teaching profession for me is exciting, a passion—one first discovered when I was twelve
vocation (that I did not know I had until I began or thirteen years old. In my college years, I trained
to exercise it). It is a job that I am passionate as an art historian, and years later I trained as a
about. Being in contact with my students reju- fashion design technician, where I perfected my
venates my ideas, keeps me awake and curious drawing and my training as a designer, working
about the world ... and feeling part of their as a designer assistant at a fashion brand for seven
training, contributing my experiences and my years.
knowledge, excites me.
Drawing has always been part of my life, What artists and/or menswear designers
although professionally I have not dedicated have inspired you?
myself to it. Illustration has come to me a bit late, Menswear design began to interest me a bit later
and it has been through social networks that I than womenswear design. My interest has always
have started to spread my work. And it’s another been in French haute couture and its big names
passion for me! like Yves Saint Laurent (my favorite designer),

Profiles  277
Balenciaga, Dior, Givenchy, Ungaro, Chanel, and What type of medium do you usually work
many others. in?
In men’s fashion I have always liked the work In technical terms, I work mostly with pencil,
of more alternative designers (although my pen, marker, and watercolor markers ... on
style is more classic), such as the Japanese (Yohji paper and in all formats. I draw on any supports,
Yamamoto, Issey Miyake, Comme des Garçons) surfaces, and sizes (laughs). Above all, I love to
but also the sartorial style of Ozwald Boateng draw ... although lately I have little time to do it!
or Francesco Smalto, the avant-garde by Rick
Owens or Thom Browne, the contemporane- How important is drawing in your work?
ity of JW Anderson, Kim Jones, the late Virgil It’s fundamental! It is the first form of approaching,
Abloh, the genderless style and freedom of Jean- of expression of the idea ... Some colleagues think
Paul Gaultier, the theatrical and ironic style of that for fashion design, knowing how to draw
Moschino (with Franco Moschino first, Rossella is not the most important thing. They take the
Jardini later, and now Jeremy Scott), the provoca- fabric and place it directly on a bust and begin to
tion of Alexander McQueen or the eroticism of model. That’s okay. But for me everything begins
Tom Ford and DSquared2. Many references ... it with drawing, with the expression on paper of
seems like a review of Fashion History (laughs). the idea, of the inspiration ... As I’m a teacher of
Now I also pay a lot of attention to young design- Fashion Design Projects and Costume Projects
ers like Ludovic de Saint Sernin or Andrea Grossi. for the Scene, for me, drawing is everything: it
communicates the idea, the appearance of the
How would you describe your illustration design, the silhouette, the volume, the quality of
style? the fabric, the “allure” of the design, the appear-
I think my illustration style is a “classic” style, ance of the stage character ...
based on a precise drawing supported by the Drawing is the way to communicate what
stroke, anatomically correct and quite descriptive. fashion means to me: culture, art, design, a certain
Especially for male illustration. When I draw or sense of taste, the beauty, the aesthetics represent-
illustrate women’s fashion, I allow myself some ing the spirit of our time, the “zeitgeist”... I love
stylistic licenses, with a somewhat more fluid how fashion illustration is once again recovering
and free drawing. I don’t know ... it’s a bit diffi- the important role it had in the communication
cult for me to speak and judge my own style of and broadcasting of fashion in its golden years of
illustration. I think that for me, the line is more the 20th century.
important than the color: the gesture defined
by the line, the definition of black on white, the How important is the computer in your work?
graphism ... I pay attention a lot to Gruau, Eric, For my work as an illustrator, I don’t use the
David Downton, Michael Vollbracht, Robert computer. I am a prehistoric illustrator (laughs). I
Passantino, George Stavrinos, or Marc-Antoine like digital illustration work and the possibilities
Coulon, among many other illustrators who have that computer design programs offer for fashion
influenced me. illustration. But it’s not my way. I love the ­freedom

Illustrated Men  278
that manual tracing offers me, the nuances I get, s­ omething beyond how the shape or structure of
the lack of control over the final result ... also, I the design is ... the emotional part!
don’t always carry my computer with me! But, a
notebook and a pencil, yes (laughs). What is your advice for any beginner
menswear illustrator or designer?
What, in your opinion, makes a good I don’t really like giving advice! In my classes as
fashion drawing? a teacher, in my work as an illustrator, I think
It is difficult to pin down! For me, it is important the key is passion: doing what you like, not
that it be descriptive and clear in the representa- being afraid of making mistakes or doing things
tion of the formal aspects of the design, the differently from how others do. Be true to your-
silhouette and the volumes ... if what we are talk- self and work, be constant, have something (or
ing about is fashion design. A correct proportion, a lot) of talent and . . . work, work, and work.
a well-represented anatomy, etc.: these are less Training is also important, no matter how you
important to me. do it. But, above all, passion for what you do and
However, if we talk about fashion illustra- doing the best you can. At the end, yes, I have
tion, I think it is important that it captures the given advice! (laughs)
“allure” of design, evokes sensations, and tells us

Profiles  279
 ­B IBLIOGRAPHY

Bargiel, Rejane, Nissen, Sylvie. Gruau: Portraits of Men. Greenburg, O’Malley Zack. Three Kings: Diddy, Dr. Dre,
Assouline Publishing, New York. 2012 Jay-Z and Hip-Hop’s Multibillion Dollar Rise. Little,
Blackman, Cally. 100 Years of Fashion Illustration. Laurence Brown and Company, New York. 2018
King Publishing, London. 2015 Harrison, Hazel. The Encyclopedia of Watercolor Techniques.
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London. 2004 Figure. Watson-Guptill Publications, New York. 2011
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Style. White Star Publishers,Vercelli. 2016 University of Nebraska Press, Lincoln, NE. 1978
Chenoune, Farid. A History of Men’s Fashion. Packer, William. Fashion Drawing in Vogue. Coward-
Flammarion, Paris. 1993 McCann, Inc., New York. 1983
Contini, Mila. Fashion: From Ancient Egypt to the Present Ramos, Juan. Antonio: 60, 70, 80:Three Decades in Style.
Day. The Odyssey Press, New York. 1965 Schirmer Art Books, Munich. 1995
Dawber, Martin. Imagemakers: Cutting Edge Fashion Raynes, John. Figure Drawing. Bonanza Books, New
Illustration. Mitchell Beazley, London. 2004 York. 1981
Downton, David. Masters of Fashion Illustration. Laurence Reed, Walt. The Figure. Weathervane Books, New York.
King Publishing, London. 2010 1989
Ford, Richard Thompson. Dress Codes: How the Laws of Reinert, Rachel. Color Workshop. Mixed Media
Fashion Made History. Simon & Schuster Paperbacks, Resources, New York. 2017
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Publications, New York. 1974 London. 2008
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­Bibliograph  281
 ABOUT THE AUTHOR

Lamont O’Neal was born in Brooklyn, New David Chu, American Eagle, and Polo Ralph
York. He began drawing as a child, inspired Lauren, and has frequently contributed covers
by comic books and fashion magazines. After for Vogue Butterick. His credits also include
attending the High School of Art & Design, he portraiture, children’s books, and illustrations for
won a scholarship to Parsons School of Design Revlon, Random House, Estée Lauder, William
to study fashion design and fashion illustration, Morrow Publishing, Nordstrom, Simon and
both of which continue to influence his style. Schuster, J. Walter Thompson, Lord & Taylor,
In his thirty-year-plus career, O’Neal has been Maybelline, and Vogue Knitting.
published in nearly every aspect of the fashion O’Neal’s work has been recognized by the
world, ­including the magazines Cosmopolitan, Society of Illustrators in New York. He lives and
New York, GQ, Playboy, and Essence. He has draws in Yardley, Pennsylvania.
worked with the likes of Oscar de la Renta,

283
 MENSWEAR GLOSSARY

Bespoke The process of creating a garment entirely Half canvas The canvas is sewn only into the chest
from scratch without using any pre-­existing area of the jacket, making it more lightweight than a full
patterns. canvas jacket.
Blazer A jacket that is in between a suit jacket and a Collar gap A gap that exists between the collar of a
sport jacket in terms of fit and formality. Less formal jacket and the wearer’s neck. This means that the
than a suit jacket, but not as informal as a sport jacket doesn’t fit properly.
jacket. Traditionally, blazers were navy, but can be tan, Collar roll A roll of fabric on the jacket at the back
gray, or even plaid. They usually have metal buttons. of the neck. This is an indication that the jacket
Break The fold in the fabric at the bottom of the doesn’t fit properly.
pant leg where it hits the shoe. Custom An item of clothing that is made to measure
Full break The traditional pant length that creates a rather than being purchased off the rack. This
single full fold inward and results in the fabric covering includes made-to-measure and bespoke.
over half the back of the shoe. Double-breasted A jacket with two columns of
Half break A pant length that only creates a slight fold buttons. The fabric overlays when closed. It may
inward, so the bottom of the trouser leg covers only the have four or six buttons. A double-breasted suit
top quarter of the back of the shoe. almost always has a peak lapel.
Button-down collars Collar points that are fastened Drape How a suit hangs on the body.
by buttons on the front of the shirt. Introduced by Flap pocket Pockets built into the jacket with a flap
Brooks Brothers in 1896. covering the opening.
Button stance Where the top button of a jacket rests. Flat-front Trousers without pleats.
Typically, this would sit between one and three French cuffs Twice as long as regular cuffs, French
fingers above the belly button. cuffs fold back and fasten with cufflinks or fabric
­Canvas A layer of fabric in between the outer fabric knots.
and the lining of the jacket’s front panels, usually Gorge A seam that joins the collar to a lapel.
made of wool and horsehair. This helps support the Gusset A triangular piece of fabric inserted at a seam
shape of the jacket and is loosely stitched to the to add strength and durability to a garment
fabric to allow for free movement. ­Inseam The measurement from the inside of the
Full canvas The canvas is sewn into the front panel for
pants at the crotch to the bottom of the pant leg.
the most structure.
Lapel The folded fabric on the front of a jacket that is
Fused A fused suit’s inner structural layer is glued to the
attached to the collar.
fabric rather than being sewn in.

284
 Notch lapel Sometimes called a step lapel, it is sewn Single-breasted A jacket with a single column of
onto the collar at an angle creating a “notch” or V-shape. buttons. It may have one, two, or three buttons.
Peak lapel A lapel that is sewn into the collar so that it Soft shoulder Also known as an unstructured
points upwards, usually extending beyond the collar. shoulder, these use very little or no padding and
Shawl lapel A continuous collar without any separation
have no roping.
between the collar and the lapel.
Sport jacket Also known as a sport coat, or sports
Made-to-measure An item of clothing that has
jacket. Sport jackets are less formal than blazers or
been made to the precise measurements and
suit jackets.
requirements of the wearer.
Spread collar A variation on a standard men’s shirt
Nap The raised surface found projecting from a fabric.
collar, with a wide spread between the points.
Typically produced by intentionally brushing or
Suit jacket Suit jackets are always part of a full suit,
occurring naturally during weaving.
either two-piece or three-piece, and tend to be
Outseam The measurement from the top of the
longer and more structured than a blazer or a sport
waistband on the outside edge of the pants to the
jacket.
bottom of the leg.
Tailored clothing Refers to any item of clothing
Patch pocket Jacket pockets that are sewn onto the
that is made to fit the shape of a person’s body. In
outer fabric of the suit using the same suit fabric.
menswear this would typically include suits, sport
Pitch stitch Subtle hand stitching around the lapel,
jackets, trousers, vests and occasionally outerwear.
pockets, and cuffs of a suit or jacket.
Three-piece suit A suit that includes jacket, vest, and
Pleat A small section of folded fabric on the front of
trousers.
the trousers along the waist. Pants may have a single
Ticket pocket A small pocket located just above the
or double pleat.
right pocket on a jacket.
Ready to wear – Also known as “off the rack,” this
Two-piece suit A suit that includes only jacket and
term refers to garments that have not been custom
trousers.
made and exist as part of the regular stock in the store.
Tuxedo A formal suit that may be two or three
Rise The difference between the outseam and the
pieces. The jacket typically has a silk or satin collar
inseam measurement.
and lapel, and the trousers have a silk stripe down
Roped shoulder Sometimes known as the structured
the side. Also known as a dinner jacket.
shoulder on a suit jacket, roped shoulders have
Unfinished hem Pants with a raw edge at the
a sleeve head that extends beyond the shoulder,
bottom that must be hemmed.
creating a lip.

Menswear Glossary  285
Vents Vertical slits on the back of a jacket that allow Welt pocket Also known as a besom pocket, a welt
it to drape naturally and comfortably when sitting pocket is a bound flat pocket that has a finish
and moving. with a welt or reinforced border along the edge
­Double vent Also known as side vents.Vents on either of the fabric. Often found in the front of a man’s
side of the back panel of the jacket. jacket, with a handkerchief tucked in.
Single vent Also known as a center vent. A vent down Yoke The section along the shoulders at the shirt that
the middle of the back panel of the jacket. connects all the other parts of the shirt.
Warp Warp is the vertical threading of a garment. In
contrast, weft is the horizontal threading.

Menswear Glossary  286
 INDEX

Note: Page locators in italic refer to figure captions.

accessories, drawing 172–83 art magazines 26 bones, principal 45–6

bags 180–1 art masking fluid 200 Bonnette, Leon 16
eyewear 182, 183 Art Set 4 app 251 boots 178
hats 172–5 art supplies 64–8 brachioradialis 47, 47
shoes 176–8 ArtRage 247 breaks 142
socks 179 ­asymmetrical compositions 121, 124 breeches 142
action lines 75, 75 athleisure 164 Brummell, Beau 1–3
activewear 164 brushes 68, 194
advertisements 15, 17, 26, 195 bags 180–1 Procreate app 247
all-purpose paper 67 balance Bubb, Tyler 221, 256
Amies, Hardy 7 in a composition 120, 121, 123 Burgio, Isabella 259–61
analogous color schemes 188, 188 movement and 71–4 burnishing 206, 207
anatomy, basic 44–8 of weight while walking 78, 80 buttons
muscles 46–7 Barnette, Renaldo 38, 78, 86, 87, jackets 137, 140
principal bones 45–6 186, 191 shirt cuffs 151
Aponte, Carlos 30, 30, 54, 90, 112, Beatles 5–9
246, 251 bending–foreshortening–sitting Cadiente, Leonard 71, 98, 208
profile 268–9 81–4 calf muscles 47, 47, 51
Apparel Arts 19–20 biceps 47, 47 Cannon, Cody 112, 239, 243
Apple Pencils 245, 247 black rendering, all- 228, 228 profile 266–7
apps, digital drawing 247–51 blazers and jackets Cardin, Pierre 6, 7
Art Set 4 251 the basics 129–31 Carlyle, Thomas 2
ArtRage 247 drawing double-breasted jackets Catrimi, Rosario 89, 166, 244, 245,
Procreate 247, 256 137–9 247, 253
Sketchbook 251 drawing single-breasted jackets center line 71–4
arms 131–5 chairs 64
bones 45–6, 46 illustrated glossary 140–1 charcoal 66
and hands 49, 49 blender markers 190, 206, 207 checks 209, 212, 213, 223–5
muscles 47, 47 blending 206, 207 ­china markers 65–6
proportions 40, 41 body types, diverse 39–41, 105–7 Christian Dior 20, 21

287
clothed figure, drawing 89–127 complementary colors 188, 188 drafting tables 64
check list for better drawings composition 120–6 drape 104–5
118–19 consistency 115, 118, 119 drawing apps, digital 247–51
creating a picture 120–6 contour drawing 91–2, 99 Art Set 4 251
developing a knowledge of contrapposto (counterpoise) 76, 77, 77 ArtRage 247
fashion 112–13 contrast 120, 124 Procreate 247, 256
drape 104–5 ­exaggerating 110–12 Sketchbook 251
exaggeration in fashion art cool colors 188 drawing inks 67
110–12 Coolidge, Calvin 271 drawing pens 66
folds and tension lines 99–102, copyright 115 dungaree cloth 168
103 Cortés, Francisco J. ix, 132, 149, dyes 193
light sources 98–9 171, 228, 264
line and contour 89–92 profile 277–9 ­Edward VIII, King (latterly Duke of
line quality 94–7, 105 costume books 14, 15 Windsor) 3–5
from a live model 105–10 creases 142 emphasis 120, 122
mass 93, 94, 94, 95 croquis 86 Epstein, Brian 5
perspective 126–7 crosshatching 206, 207, 229 erasers 66
from a photograph 113–15 cuffs, shirt 147, 151 Erickson, Bradley 257, 258
rough drawings and finished cut and paste 249 Erlikh, Eduard 28–9, 79, 158
drawings 115–19 cylindrical forms 75, 77 Esquire 20
shadows 97–8, 99 evaluating drawings 118–19
Shape Within Shape 91, 92, Daily News Record (DNR) 26–8, exaggeration in fashion art 110–12
93, 95 205 eyebrows 57, 58
Shape Within Shape combined dandies 2, 152 eyes 57, 58
with mass 94 Dapper Dan (Daniel R. Day) 9 eyewear 182, 182, 183
on a template 115, 116, 117 Davis, Jacob 168
tension lines 102 deltoid 47, 47 fabric, rendering in color
coats denim jeans 167–71 all-black 228, 228
drawing 152–5 Denzinger, Katharina 24 fur 220–2
illustrated glossary 156–7 design fundamentals 120–6 leather and other shiny fabrics
step-by-step rendering 199 Di, Mengjie 154, 255 230–3
collages profile 270–1 plaids, stripes and checks 223–5
digital 249 Dighton, Robert 1 plain weave fabrics 198
handmade 209 digital art 28, 245–63 repeat patterns 234, 235–8
collars converting hand drawn sheer fabrics 229–30
detachable 147 figures 251–6 simple wool patterns 212–19
jacket 131, 133, 135, 137, 140 developing digital flats 256–63 textured fabrics 198
shirt 147, 150 digital freehand drawings yarn-dyed fabrics 209–12
color pencils 65, 202–5, 216 247–51 fabric swatch library 212
technique 206–7 drawing apps 247–51 fabric swatches, glossary of 213
color rendering 185–6 repeat patterns 234 face
color schemes 188–9 Dior, Christian 20, 21 features 57–62
color wheels 186, 187 Donovan, Bil 30, 33, 83 planes 63, 63
color, working with 186–8 double-breasted jackets facial hair 61, 62
Combs, Sean John (Puff Daddy) drawing 137–9 fashion magazines 14–15, 19, 69
9–11 illustrated glossary 140 growth of 17

Index  288
fashion plates 15–16 garments, drawing 129–71 half-drop horizontal repeat patterns
fashionable male, history of 1–11 denim jeans 167–71 234, 236
Beatles 5–9 double-breasted jackets 137–9, half-drop vertical repeat patterns
Beau Brummell 1–3 140 234, 236
King Edward VIII 3–5 knits and sweaters 158–63 hands 49–50, 51
Sean John Combs (Puff Daddy) outerwear 152–7 and arms 49, 49
9–11 shirts 146–51 Hans, Jasjyot Singh 123
Faust, Clifford 54, 83, 248 single-breasted jackets 131–5, hatching 206, 207
features 57–62 140–1 hats 172–5
eyes 57, 58 sportswear 164–71 fitting on the head 174
hair 61, 62 suits and blazers 129–31 illustrated glossary 175
mouth 55, 60, 61 trousers 142–5 head
nose 57, 59 gastrocnemius 47, 47, 51 skull 45, 46
feet 52, 53 Gazette du Bon Ton 16 as unit of measurement 40, 41, 41
bones 46, 46 gel pens 66, 190 head, drawing male 52–63
legs and 50–2 The Gentleman’s Magazine 15 features 57–62
­female figures, structural differences Gentleman’s Quarterly 20 front view, blocking in 53–5
between male and 42, 43 Gertz, Geoffry 82, 210 planes of face 63, 63
figure gesture drawing 84–5, 109 profile, blocking in 55, 56
front and back views 44 gingham 212, 213, 223–5 three-quarter view, blocking in
nine head 41, 41 glossaries, illustrated 55, 56
side and three-quarter views bags 181 tilting forward and backward
45 blazers and jackets 140–1 56, 57
simplified construction 48, 48 ­hats 175 Hilfiger, Tommy 10
structural differences between knits and sweaters 162–3 hip-hop artists 9–11
male and female 42, 43 outerwear 156–7 hippies 7
see also anatomy, basic; clothed shirt collars 150 history of fashionable male 1–11
figure, drawing; male fashion shirt cuffs 151 Beatles 5–9
figure, drawing shoes 178 Beau Brummell 1–3
fingers 49, 50, 51 Golden Age of men’s fashion King Edward VIII 3–5
flats 234 illustration 17–20 ­Sean John Combs (Puff Daddy)
developing digital 256–63 Goldfinger 22 9–11
how to draw 239–43 gouache 67, 200–2 history of men’s fashion illustration
flesh tones, rendering 226–7 Gourdin,Velicia 54, 250 13–36
floating flats 234 Gozum, George 33, 33, 37, 54, 94, 15th–20th century 13–17
floats 234 97, 106, 139, 172, 249, 251 1919–39, Golden Age 17–20
focus 120, 122 GQ 13, 20 1945–60, post-war years 20–1
folds and tension lines 99–102, graphite paper 67 1960–89, Silver Age 21–8
103 graphite sticks 65 1990 onwards 28–9
foreshortening–sitting–bending grease pencils 65–6 in age of social media 32–6
81–4 groups of figures 99, 115, 119, 126 photography vs. illustration 29–32
frisket 200 Gruau, René 21, 21 hooded sweatshirts 163
front view of head, blocking in houndstooth 212, 213, 214
53–5 Haines, Richard 34, 35, 80, 126,
fundamentals of design 120–6 172 illustration boards 67–8
fur, rendering 220–2 hair 61, 62 Illustrator 234, 245, 256

Index  289
inks, drawing 67 lightboxes 68, 253 McMenamy, Ryan 32, 32, 100, 124,
intensity 188 lighting 64–5 183
iPads 247 line and contour 89–92 profile 274
line quality 94–7, 105 ­Melendez, Robert 27, 27, 111, 126,
jackets and blazers live models, drawing from 105–10 205
the basics 129–31 Lopez, Antonio 13, 22–6, 30, 125, men’s fashion illustration, overview
drawing double-breasted jackets 201, 204 13–36
137–9 15th–20th century 13–17
drawing single-breasted jackets magazines 1919–39, Golden Age 17–20
131–5 art 26 1945–60, post-war years 20–1
illustrated glossary 140–1 fashion 14–15, 17, 19, 69 1960–89, Silver Age 21–8
jawline 55 men’s 15, 16, 19–20, 26 1990 onwards 28–9
jeans, denim 167–71 trade 26–8 in age of social media 32–6
jodhpurs 142 male fashion figure, drawing photography vs. illustration
Journal des Dames et des Modes 15 37–63 29–32
arms and hands 49, 49 men’s magazines 15, 16, 19–20, 26
Kaye, Gary 97, 122, 155, 159, 179, basic anatomy 44–8 Michelangelo 76, 77
210 difference between design military uniforms 1, 2, 20, 129, 152
Kilroy, Richard 29–30, 29, 124, sketches and fashion cover of Sgt. Pepper’s Lonely
182 illustrations 38–9 Hearts Club Band 6–7
kneaded erasers 66 feet 52, 53 Millings, Dougie 6
knits and sweaters 158–63 front and back views 44 mixed media 209
illustrated glossary 162–3 good drawings 37–8 Mod fashion 6
knowledge of fashion, developing a hands 49–50, 51 models
112–13 head 52–63 Antonio Lopez’s unconventional
legs and feet 50–2 24
lace fabrics 229, 229 proportion 39–43 diversity in fashion 39–41, 105–7
Lane, Brian 160, 246 side and three-quarter views 45 drawing from live 105–10
profile 272–3 simplified construction of the monochromatic color schemes 188,
lapels 131, 135, 140, 156 figure 48, 48 188
Lauren, Ralph 5, 9, 10 upper torso 48–9 mouth 55, 60, 61
layering 190, 206, 207 The Man in the Gray Flannel Suit 22 movement 71–87
digital 247–9 marker blenders 190, 206, 207 action lines 75, 75
layout 120–6 marker paper 67, 190 balance 71–4
Le Mercure galant 14 markers 66, 189–91 in a composition 119, 120, 121
leather, rendering 230, 230, 231 brands 190 contrapposto (counterpoise) 76,
Lee, Jusun 132, 254 color pencils and 203, 216 77, 77
legs technique 190–1 the croquis 86
bones 46, 46 textured fabrics 198 cylindrical forms 75, 77
and feet 50–2 masking tape 200 direct sketching 85–6
muscles 47, 47 illustrations 30, 30 foreshortening–sitting–bending
­proportions 40, 41 mass 93, 94, 95 81–4
Levi Strauss & Co. 168 combining Shape Within Shape gestures 84–5, 109
Leyendecker, Joseph Christian and 94 mechanics of construction and 73
17–19 Mathew, Emee 262, 263 walking poses 77–80
light sources 98–9 profile 275–6 muscles 46–7

Index  290
newsprint paper 67 pinstripes 213, 214, 217, 223 fur 220–2
Newton, Sir Isaac 186 plaids 209, 212, 213, 223–5 leather and other shiny fabrics
nine head figure 41, 41 creating a plaid figure 215 230–3
Norfolk jacket 140, 141 plain weave fabric, rendering 198 pastels 208
nose 57, 59 plumb line 71–4 plaids, stripes and checks 223–5
nostrils 57, 59 portraiture 13–14 plain weave fabrics 198
Nouveau Mercure galant 14–15 primary colors 186, 187 repeat patterns 234, 235–8
Nutter, Tommy 7 Procreate app 247, 256 sheer fabrics 229–30
profile simple wool patterns 212–19
one-way repeat patterns 234, 236 blocking in head 55, 56 stripes 214, 217, 223
outerwear 152–7 upper torso 72 textured fabrics 198
­drawing coats 152–5 profiles of men’s fashion illustrators wet media 189–202
illustrated glossary 156–7 Brian Lane 272–3 working with color 186–8
rendering a coat 199 Carlos Aponte 268–9 yarn-dyed fabrics 209–12
rendering a leather jacket 231 Cody Cannon 266–7 repeat patterns 234, 235–8
rendering a nylon puffer jacket ­Emee Mathew 275–6 Reynolds, Joshua 13–14
232 Francisco J. Cortés 277–9 rib cage 45, 46, 48
Mengjie Di 270–1 rubber cement 200
palettes 68 Ryan McMenamy 274
pantaloons 142 proportion 39–43, 52, 115 scale 121, 126
paper adult male head 53–7 recreating pattern at reduced
sizes 67 consistency in groups of 209, 212
types 67–8 figures 119 ­seams 131, 133
pastels 65, 208 Puff Daddy (Sean John Combs) secondary colors 186, 187
pattern 121, 124, 125 9–11 self-criticism 118–19
plaids, stripes and checks 223–5 Puppet Warp 254, 256 semitendinosus 47, 47
rendering simple wool patterns sequins, rendering 230, 233
212–19 quadriceps 47, 47 Sgt. Pepper’s Lonely Hearts Club Band
repeat patterns 234, 235–8 6–7
and texture 212–28 R&B Hermann 195 shade 186, 191
pectoralis major 47, 47 Ralph Lauren 5, 9, 10 shadows 97–8, 99
pencil sharpeners 66 Ramos, Juan Eugene 22–4, 26, 125 Shape Within Shape 91, 92, 93, 95
pencils 65 Rancitelli, Bill 96, 105 combining mass and 94
pentimenti 108 rap artists 9–10 sheer fabrics, rendering 229–30
perspective, drawing in 126–7 rectus abdominis 47, 47 shiny fabrics, rendering 230–3
photographs, drawing from 113–15 rectus femoris 47, 47 shirts 146–51
photography vs. illustration 29–32 reference files 69 illustrated glossary of collars 150
Photoshop rendering techniques 185–244 illustrated glossary of cuffs 151
converting hand drawn figures all-black 228, 228 shoes 176–8
into digital sketches 251, collage and mixed media 209 illustrated glossary 178
253, 254, 256 color pencils 202–7 shoulders
creating repeat patterns 234 color rendering 185–6 bones 45, 46
drawing digital flats 256 color schemes 188–9 muscles 47, 47
Puppet Warp 254, 256 flats 234, 239–43 proportions 40, 41
Waro 254 flesh tones 226–7 Silver Age of men’s fashion
Pimsler, Alvin J. 22, 23, 121 floats 234 illustration 21–8

Index  291
single-breasted jackets 131–5 swipe files 69 tossed repeat patterns 234, 236
illustrated glossary 140–1 symmetrical compositions 121, 124, tracing paper 67
sitting–bending–foreshortening 81–4 126 drawing a rough sketch on 118
skeleton 46 trade magazines 26–8
Sketchbook app 251 tailoring 129–30 transfer paper 67
sketchbooks 85–6 apprentices 129 triadic colors 188, 189
sketches tech packs 234 triceps 47, 47
difference between fashion technical drawings 234 trousers 142–5
illustrations and design 38–9 developing digital flats 256–63 tunics 147
finished drawings and rough how to draw flats 239–43 two-way repeat patterns 234, 236
115–19 Tedeschi-Cuoco, Loretta 145, 167,
skin tones, rendering 226–7 182 value 186
skull 45, 46 templates Van Au, Mitchell 83, 165, 253,
sleeves drawing on 115, 116, 117 254
jacket 133, 135, 140 sample 282 vellum 67
shirt 148 tension lines 102, 102 Vyse, Richard 54, 97, 194
sneakers 177, 178 and folds 99–102, 103
social media, illustration in age of tertiary colors 186, 187 walking poses 77–80
32–6 texture and pattern 212–28 warm colors 188
socks 179 textured fabrics rendered in color Waro 254
spinal column 45, 46 198 the wash technique 195–8
split complementary colors 188, 188 textured paper 67 watercolor paper 68, 195
sportswear 164–71 thighs 50–1 watercolor pencils 65
denim jeans 167–71 bones 46, 46 watercolor rendering 191–9
Strauss, Levi 168 muscles 47, 47 how to apply a wash 195–8
streetwear 9–11 three-quarter view of head, plain weave fabrics 198
­stripes 213, 214, 217, 223, 235 blocking in 55, 56 step-by-step 199
style 37–8 thumbs 49, 50, 51 textured fabrics 198
suits tilting forward and back, head 56, watercolors 66–7
the basics 129–31 57 wet media 189–202
bespoke 130–1 tint 188 gouache 200–2
double-breasted jackets 137–9 tinted paper 67 markers 189–91
illustrated glossary of jackets toes 52, 53 watercolors and dyes 191–9
140–1 tone 98, 188 whitening 206, 207
ready-made 130 tools of an artist 64–8 Wille, Ricola 166, 252
single-breasted jackets 131–5 top stitching 131, 133 Windsor, Duke of (formerly King
trousers 142–5 torso Edward VIII) 3–5
swatch library 212 muscles 47, 47 Women’s Wear Daily (WWD) 26–8
swatches, glossary of 213 ­profile of upper 72
sweaters, knits and 158–63 proportions 40, 41 yarn-dyed fabrics 209–12
illustrated glossary 162–3 simplified construction 48–9 swatch library 212

Index  292