Fashion illustration

Charles Dana Gibson (September 14, 1867-December 23, 1944) was an American graphic artist, noted for his creation of the Gibson Girl, an iconic representation of the beautiful and independent American...

Category: File - :Gibson Girl.png|right|thumb|Sketch of the Gibson Girl by Charles Dana Gibson

The Gibson Girl was the personification of a feminine ideal as portrayed in the satirical pen and ink illustrated stories created by illustrator Charles Dana Gibson during a 20-year period spanning the late nineteenth and early twentieth century in the United States.

Some people argue that the "Gibson Girl" was the first national standard for feminine beauty. For the next two decades, Gibson's fictional images were extremely popular. There was merchandising of "saucers, ashtrays, tablecloths, pillow covers, chair covers, souvenir spoons, screens, fans, umbrella stands",Charles Dana Gibson and the Gibson Girls all bearing her image.

:For the film actor, see George Barbier (actor)

Category: Image - :Paquin3.jpg|thumb|300px|Illustration by Georges Barbier

George Barbier (1882 - 1932) was one of the great French illustrators of the early 20th century. Born in Nantes, France on October 10, 1882, Barbier was 29 years old when he mounted his first exhibition in 1911 and was subsequently swept to the forefront of his profession with commissions to design theatre and ballet costumes, to illustrate books, and to produce haute couture fashion illustrations. For the next 20 years Barbier led a group from the Ecole des Beaux Arts who were nicknamed by Vogue "The Knights of the Bracelet"—a tribute to their fashionable and flamboyant mannerisms and style of dress. Included in this élite circle were Bernard Boutet de Monvel and Pierre Brissaud (both of whom were Barbier's first cousins), Paul Iribe, Georges Lepape, and Charles Martin. During his career Barbier also turned his hand to jewellery, glass and wallpaper design, wrote essays and many articles for the prestigious Gazette du bon ton. In the mid 1920s he worked with Erté to design sets and costumes for the Folies Bergère and in 1929 he wrote the introduction for Erté's acclaimed exhibition and achieved mainstream popularity through his regular appearances in LIllustration'' magazine. Barbier died in 1932 at the very pinnacle of his success.

Paul Iribe (June 18, 1883 ? September 21, 1935) was a French designer, journalist, artist, and fashion illustrator.

Romain de Tirtoff (November 23, 1892 - April 21, 1990) was a Russian-born French artist and designer known by the pseudonym Erté, the French pronunciation of his initials, R.T. He was a diversely-talented 20th century artist and designer who flourished in an array of fields, including fashion, jewelry, graphic arts, costume/set design (film, theatre, opera) and interior decor.

Léon Samoilovitch Bakst (May 10, 1866 ? December 28, 1924) was a Russian painter and scene- and costume designer who revolutionized the arts he worked in. Born as Lev (Leib) Rosenberg, he was also known as Leon (Lev) Nikolayevich Bakst (???? (???) ?????????? ?????). Bakst was the family name of his mother. This surname was more suitable for a young Russian artist. Many Bakst's around the world did change their name to Baxt. The family name was never Bakster or Baxter. Baxter is a Scottish surname.

Varvara Fyodorovna Stepanova ( November 9, 1894http://www.museothyssen.org/thyssen_ing/coleccion/obras_ficha_biografia742.html-1958), was a Russian artist associated with the 'Constructivist' movement.

She came from peasant origins but was fortunate enough to get an education at Kazan School of Art, Odessa. There she met her life-long friend and collaborator Alexander Rodchenko. In the years before...

Aleksander Mikhailovich Rodchenko (, ? December 3, 1956) was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.

Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles?usually high above or below?to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."