Rene Gruau: a new look at the influential Dior illustrator - Telegraph
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Rene Gruau: a new see by the influential Dior illustrator
As a new exhibition celebrates the groundbreaking work of the fashion illustrator René Gruau, Drusilla Beyfus examines his allure.
BY Drusilla Beyfus |23 October 2010
Photo: SARL René Gruau
René Gruau was an Italian-born illustrator who worked at the front line of lofty fashion for more than 60 years. Next month his sketches for the House of Dior will approach a new crowd at an exhibition in his name. To some, it will be a reminder of what the brush, pen and ink accomplished ahead the camera took over. What set Gruau apart from his peers is that many of his best work was done for promotional and sale purposes.
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Many of his guiding companion illustrators tended to be iffy about the genre or chose to neglect it, confining their work to one publisher or shape magazine. But Gruau is credited with being many extra than a Mr Puff: his scope of the latest thing in dress, accessories and perfumery motivated an awareness of French mainstream afterward the Second World War, a duration when the manufacture needed a boost to get back on its feet afresh.
Gruau worked for numerous contributors including Balmain, Givenchy, Schiaparelli, Jacques Fath and Edward Molyneux, and likewise for suppliers of top-quality linens, automobiles and liquor. He did ballet sets and costumes. But arguably it was his inspired collaboration with Christian Dior and the House of Dior that stamped his reputation. Beginning with Dior's New Look in 1947, Gruau's connection with the couture house continued well after Dior's decease in 1957, until the late 1990s.
The imminent exhibition at Somerset House in London has been curated by Vincent Leret, the co-author of a paperback on Dior and the curator of the Christian Dior museum in Granville,
Babolat Aero Racquets, France. In conversation with Leret recently I asked about the press between Dior and Gruau. Stressing the wider picture of a general cultural heritage and a like-minded elegant, he joined, 'They both shared the same charm for elegant mothers, kitted out with parasols, wallets and wide-brimmed hats.'
John Galliano, the dress designer at Christian Dior,
cheap tory burch reva, has suggested that Gruau 'captured Dior's neatness and spirit better than any other because he understood his long-term friend... for me a Gruau sketch arrests the energy, the sophistication and fearless of Dior, and equally is testimony to an enduring friendship.'
René Gruau was nativity Renato Zavagli Ricciardelli in Rimini in 1909 to a home of aristocrats. His dad was an Italian calculate. Following the divorce of his parents when he was three, and his mother's migrate to Paris, René took the virgin label of his well-born, artistically disposed French mom, Maria Gruau de la Chesnaie. He lived and worked in France.
Using a wide, flowing brushstroke, pen, Indian ink and gouache, he would establish a idea on a ground of flat intonation. He drew on many elegant influences, such as Japonism, which was in the cultural ventilation, the kabuki theatre with its emphasis on make-up and disguises, and on Japanese woodcuts especially.
The lithographs of Toulouse-Lautrec are often quoted in connection with him. From these sources he also designed his notable curvilinear signature consisting of the chief letter G, on which there is a starlike fashion said to have originated in a blob of ink. He used storytelling and a humorous sense of reconnaissance, and liked to reception the button on the feelingful content of an image.
In the case of Miss Dior, the house's 1st branded eau de toilette, launched in 1949, Dior's life filters through the details of one of the drawings. A white swan contoured in sweeping black brushstrokes is shown sailing over tranquilize waters and sporting a black bow - a Dior insignia - and a pearl locket.
The couturier kept swans at his nation estate, Le Moulin du Coudret. Moreover, in the decor of 18th-century France - a period revered by the couturier - the swan represented renaissance. Miss Dior was aimed at a new generation.
For Diorama, a mark of scent namely emulated Miss Dior, the illustration depicts a neo-Louis XVI chair upholstered in the screen of roseate that Dior applied to his clothes devise. An unseen wearer has darted a couple of long pearly mittens and a spectacular dark scarf ashore the seat. Leret inspected namely the two men had learnt almost the major role played along accessories as 'they had both worked for the same hat magazines'.
Eau Fra?che, Dior's personal alternative of cologne, was launched in the mid-1950s. Gruau did several illustrations for the brand, including a uni###### movement. It depicted the back outlook of a striped deckchair in which only the top of the sitter's pate is visible.
The props are a tennis din, a towel and a bottle of cologne. There are not clues as to the gender of the user. John Galliano wrote, 'A Gruau sketch stimulates all the senses and takes you back to… fashion revolution.'
Gruau's treatment for Eau Sauvage, an aftershave also introduced in the mid-1950s, heaved a few eyebrows. Humorously supposed, it revealed a pair of hairy thighs that had to be a man's. The figure's lower torso only was shown, discreetly covered in a faux leopardskin. It became renowned with both males and women and was worn by Gruau himself.
Gruau lived to transform lustered internationally, up until his death in 2004. His work is in citizen salons and ##################, including the Louvre, as well as in many private collections.
'Dior Illustrated: René Gruau's Line of Beauty' is at Somerset House from November 10 to January 9. 'René Gruau's First Century' by Sylvie Nissen and Vincent Leret (rrp ￡45) is being republished by Scriptum Editions to coincide with the exhibition. Copies are accessible for ￡40 plus ￡1.25 p&p from Telegraph Books (0844-871 1515; books.telegraph.co.uk
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