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31-08-2012
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Antonio Lopez with a number of his girls....including Grace Jones and Jessica Lange.

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01-09-2012
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US Vogue September 1984
The Difference Is a Coat
Illustrator Antonio Photo Chuck Baker Models Unknown, Wanakee Pugh & Andie MacDowell Hair Ray Allington & Edward Tricomi Makeup Ray Allington & Leventé




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12-09-2012
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US Vogue September 1980
Beauty: The New Color Focus
Photo Denis Piel Illustrations Antonio Models Beverly Johnson & Rosie Vela Hair Harry King Makeup Way Bandy



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15-09-2012
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When to see the show in NYC ... pretty good, and the display is very good and classy ... There are illustrations, Polaroids and 2 videos ... And there's a big catalogue filled with itw and articles and stuff at the gallery desk that you can consult ...

* note for the gallery girl at the desk, she should stop chewing gums like a cow ... Pretty inappropriate for a gallery that pretends to be classy ...

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15-09-2012
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http://photobucket.com/albums/u380/brocksnyc

my own pictures. Sorry I'm on iPad, so I don't know another way of uploading pictures for you to see ...

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19-10-2012
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US Vogue March 1984
The World Class of Gianni Versace
Photo Richard Avedon Illustrations Antonio Lopez Models Bonnie Berman, Kelly LeBrock, Kim Alexis, Mike Hall & Tim Clement


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08-07-2013
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US Vogue December 1980
Makeup As An Ornamental Pleasure...
Illustration Antonio Lopez


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20-08-2013
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US Vogue October 1984
Furs: The "Big" Difference
Illustration Antonio Lopez
Photo Peter Lindbergh
Models Jacki Adams & Ashley Richardson
Hair Howard Fugler
Makeup Joe McDevitt



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28-08-2013
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US Vogue October 1984
Vogue's View
Illustration Antonio Lopez & Tim Sheaffer
Photo Mario Testino, Pierre Scherman & Hans Feurer
Hair Gad Cohen & Didier Malige
Makeup Gad Cohen & Leventé


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31-08-2013
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Missoni Fall/Winter 1984-85
US Vogue October 1984
Illustrator Antonio Lopez


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02-09-2013
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Saint Lauren Rive Gauche Fall/Winter 1984-85
US Vogue October 1984
Illustrator Antonio Lopez



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06-11-2013
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US Vogue February 1976
February Finds--Success Stories, U.S.A.
Photo Richard Avedon, Jacques Malignon & Ishimuro
Illustrations Antonio Lopez
Models Rosie Vela, Patti Hansen, Chris Royer & Melanie Cain
Hair Harry King
Makeup Way Bandy




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06-01-2014
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Quote:
For Fashions of The Times
1966
Pentel and collage on paper
64 x 49 cm


Quote:
Mademoiselle
1965
Ink and collage on paper
63.5 x 48 cm


Quote:
Andy Warhol
1978
Crayon on paper
65 x 50 cm


Quote:
For Vanity
1983
Pencil, watercolour and acrylic on paper
50 x 71 cm


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Valentino for Vanity
1982
Pencil and watercolour on paper
38 x 48 cm


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British Vogue
featuring work by Antonio López
Apr 15th 1968
López's Bike Girls editorial p.57-65.


Quote:
French Elle
featuring work by Antonio López
Mar 1967
Cover and ten page López story p.106-115.

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06-01-2014
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Quote:
French Elle
featuring work by Antonio López
May 11th 1967
Six page lingerie story.


Quote:
Antonio 60 70 80
Juan Ramos
Published by Schirmer/Mosel,1994
This is a German language edition published by Schirmer/Mosel. Edited by Anotnio Lopez’s collaborator Juan Ramos it is packed with fabulous Antonio imagery spanning three decades. It includes a forward by Paloma Picasso and a tribute written by Bill Cunningham. 1st edition.


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Antonio’s People
Paul Caranicas
Published by Thames & Hudson, 2004
The sleeve notes read, ‘packed with previosuly unpublished material this book is a thrilling retrospective about an artist who is represented in major collections from the Metropolitan to the Lourve'. The author Paul Caranicas was close friend with both Antonio Lopez and Juan Carlos, Antonio’s creative collaborator. He is now the President of the Antonio Lopez Foundation. Laird Borrelli, writer of the forward is a fashion writer and author of a series of books on Fashion Illustration also published by Thames & Hudson. Paperback.

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06-01-2014
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The Life and Work of Fashion Illustrator Antonio Lopez

Juan Ramos and Antonio Lopez, Paris, 1972
Quote:
Rizzoli is touting Roger and Mauricio Padilha's new book, Antonio Lopez: Fashion, Art, Sex & Disco, as "the first complete monograph on Antonio Lopez." The cover unwittingly reveals a more complete truth. Antonio, it blares, in the signature script that was attached to the most thrilling fashion illustrations of the 1970s and '80s. Yes, Lopez was the great Antonio, but what the Padilhas clarify is how much "Antonio" was the construct of Lopez and Juan Ramos, his partner, once in love, always in business. Yin and yang, they were. "It was like Antonio was doing the weaving and Juan was the one spinning it into gold," observes Pat Cleveland, one of the many people whose lives were transformed by proximity to the duo. And, in their complete physical embodiment of the ideal world they were creating in their art, Lopez and Ramos became charismatic avatars of style in their lives.

— By Tim Blanks

Beauty Head, 1963
Quote:
Born in Puerto Rico in 1943, Lopez came to New York when he was seven. His mother was a dressmaker, his father sculpted mannequins. Fashion and form—that apple didn't fall far from the tree. The Fashion Institute of Technology, WWD, The New York Times: His trajectory was ever upward. His precocious and unerring eye for modernity—this illustration is from 1963, for Pete's sake—meant his genius was recognized early. By the time he was 22, Lopez was earning $1,000 an illustration.

From Mademoiselle, 1965
Quote:
Lopez's mature style is familiar through the handful of books that have collected his pictures over the years—they're all cult items now—but the Padilhas also serve his early years well. They bring out the edge in his Swinging Sixties imagery, more New York underbelly than London dolly bird.

From British Vogue, 1965
Quote:
Maybe Lopez's edge was honed by his engagement with the world outside fashion. It's as if his illustrations were the equivalent in line of what photographers like David Bailey were doing with film. There was energy and movement and a feel for the street. Andy Warhol, who'd forged an equally successful but rather more whimsical career in fashion illustration a decade earlier, praised Lopez for his "journalist's eye."

From British Vogue, 1965
Even when Lopez referred to pop art—or took on the swirling, psychedelic clichés of hippiedom—he did it his own way. Kinetic, but with an outré undertow. "What one recognized in his illustrations was, in the end, more than just a dress," said photographer Peter Knapp, with whom Lopez worked. "It was a state of mind."

Antonio and Jane Forth in his Carnegie Hall studio, 1968
Quote:
Lopez was always obsessed with models. "Antonio's girls" were to Lopez as the Superstars were to Warhol. He remade and remodeled them to fit his very particular ideal. "He was never interested in the girl next door," Ramos remembered later. "Healthy wasn't his thing. He wanted exotic, weird, a little ****ed up." And when Lopez got what he wanted, he made it a little more weird. Like Jane Forth. She was 15 when Lopez and Ramos found her in Central Park in the mid-sixties. After her came Pat Cleveland, Donna Jordan, Jerry Hall, Grace Jones, Jessica Lange, Tina Chow, each one an archetype, almost a supermodel prototype. "Antonio was like an employment agency," said Ramos. "They all had their stories. He loved that. He'd listen to their problems for hours on end. Most of them ended up living with us."

Antonio, Karl Lagerfeld, and Pat Cleveland, Paris, 1970
Quote:
At the end of the sixties, Lopez, Ramos, and entourage decamped to Paris for seven years. You could say it was all about a shift in the zeitgeist, but that's a fancy way to gloss the spectacular efficiency with which Antonio and co. turned uptight Paris into the world's biggest party town. Their all-night amphetamine energy and radical chic sent a shiver down the local scene's collective spine. Karl Lagerfeld was an early adopter. Lopez illustrated his collections for Chloé. The Lopez entourage, fueled by crossovers with Warhol's crowd, provided Lagerfeld with a gang of his own to counterbalance rival Yves Saint Laurent's decadent set. The Americans were quite the match of the French in that area. "We hung out 24 hours a day and had nothing to do except be out of our minds and immersed in fashion," said a surprisingly together Pat Cleveland years later. Fortunately, there's almost enough of that in the Padilhas' book to justify its subtitle Fashion, Art, Sex & Disco. Plus some what thuh? photographic souvenirs of Karl.

Carol LaBrie, 1971
Quote:
In one area at least, Paris was much freer than New York. There was less bias in the French fashion world, so Lopez was able to use models of color. Antonio's Paris saw the apotheosis of Pat Cleveland, the glory of Grace Jones, and the Josephine Baker-like brio of this girl, Carol LaBrie.

Jerry Hall, 1974
Quote:
Lopez drew fast—check out the old films on YouTube—but the speed of life in Paris demanded something faster. In 1973, he first picked up an Instamatic (never a Polaroid: "too complicated," he said) to make a visual diary of his life, but, typically, it turned into a whole new body of portraiture. Last year's Twin Palms tome Instamatics did a brilliant job of collecting a lot of previously unseen photos. Here's Lopez's favorite subject.

Antonio and Jerry Hall, Jamaica, 1975
Quote:
In her autobio Tall Tales, Jerry Hall called Lopez "my first boyfriend and the first man I ever lived with." This was how it happened, under a disco moon in Paris. Hall was 16 at the time, barely off the plane from Texas, with her dollars running low. "I first met him at the Club Sept…I had on this gold satin suit of my mother's—real tight of course—and this blue feather boa she'd found for me at the Sewing Centre in Mesquite. Then I had gold feathers pasted across my forehead, and my platform shoes. Already I'm five feet ten and a half inches, and with these shoes I was like six-foot-three or something. Plus I'd curled my hair. It was like a mane—all frizzy. And then I had on lots of makeup and glitter as well as the feathers…I guess that's why Antonio noticed me." You think? Under Lopez's obsessive tutelage, Hall transformed into one of the most successful cover girls of the seventies. And this particular shoot—with Norman Parkinson for British Vogue—yielded one of her most successful covers.

Shoes, 1978
Quote:
Lopez had a shoe fetish. Figures. The sculpted form of the shoe molding the supple flesh of the foot—almost to the point of discomfort—is a tidy enough analogy for the erotic alchemy he explored with his "girls." He even did a series of images where gorgeous women transmogrified into dominatrix heels. The atmosphere of perfervid eroticism steadily thickened as Lopez's career advanced. All appetites were fully indulged and absolutely sated. As far as it being a more "innocent" time, Lopez's work at the end of the seventies and beginning of the eighties feels very much of a transgressive muchness with his pals Guy Bourdin and Helmut Newton. The mood was darkening, the party was almost over.

Vanity Magazine, 1981
Quote:
The recent death of Anna Piaggi cast a spotlight on the magazine she and Lopez created at the beginning of the 1980s. In its fiercely idiosyncratic curation of fashion past, present, and future, it was so far ahead of its time that it now exists outside time in a beautiful ephemeral bubble…if you can even find it.

For Yves Saint Laurent, 1983
Quote:
As Lopez and Ramos started to lose close friends to AIDS in the early eighties, a somber, more sculptural tone began to insinuate itself into the work. The Padilhas point to other ways in which AIDS made its presence felt in Lopez's illustrations, but it's logical enough to assume that the idea of legacy began to loom its head in the light of current events. It became increasingly obvious that Lopez wanted to be taken seriously as a fine artist, not just with a project like his illustrated edition of Sir Richard F. Burton's The Thousand and One Nights (rebranded as Antonio's Tales From the Thousand and One Nights) but also in the increasingly studied nature and growing complexity of his pictures.

Missoni campaign, 1984
Quote:
Lopez's campaigns for Missoni endure as one of the great artist/designer collaborations. It was Anna Piaggi who suggested him to her friend Rosita Missoni. Daughter Angela remembers him arriving at the Via Salvini showroom in Milan (it's now a family apartment), clearing out the space, and staying there for a week, working obsessively on images like this, from a campaign launched at the same time as the 1984 Olympics. But her memories are tinged with sadness because Lopez was already ill by this point. "He was always cold. Juan and he would be building the set and doing a big research on casting, Anna would be styling, Vern Lambert was overseeing the whole thing. Antonio would always sketch in black and white before making the finished picture, like doing a Polaroid. And he always drew big, never small." The Missoni images are a reminder of how men were as important as women in Lopez's visual vocabulary. That was a rare thing in the annals of fashion illustration.

Karlie Kloss in Anna Sui, Spring 2012
Quote:
So, about that legacy. Two recent major collections name-checked Lopez. For Fall 2012, Kim Jones used some of the more emblematic "Antonio" visual flourishes as detailing on his sophomore menswear collection for Louis Vuitton. And for Spring 2012, Anna Sui set out to evoke the headiness of the Club Sept days, with printed forties-style dresses like the ones Donna Jordan and Jane Forth used to wear when they were out and about in Paris. "It was revolutionary to wear vintage then," says Sui, especially when one of the designers checking out the antics—and the outfits—of the Lopez-Ramos entourage was Yves Saint Laurent, who channeled his fascination into his forties-influenced collection du Scandale in 1971. And what a scandal it caused. I'm sure if you sift through the past few decades, you'll find more examples. The Padilhas tell us that Norma Kamali, for instance, based her reputation-making sleeping bag coat on shoots where Lopez swathed his models in sleeping bags from Paragon sporting goods, just down the street from his studio in New York. Then there was John Galliano, who, inspired by "Antonio," went to Central Saint Martins to study fashion illustration, before a visionary tutor steered him toward design. And in the bigger picture, every time a fashion scene starts to swirl, doesn't it raise the specter of the world that Lopez and Ramos made? (Meisel's girls? Now that would be a book.)

Roger and Mauricio have crafted a worthy addition to Antoniana, though it is scarcely definitive. The Lopez anecdotes in the bios of others suggest there are too many tales still waiting to be told. But even given the burgeoning popular appetite for brilliant fashion tragedies (I'm almost positive it's burgeoning as I write), the Lopez dazzle may defy the definitive treatment. This could be one fashion moment when you really had to be there.
Photo: Courtesy of Paul Caranicas / Copyright Estate of Antonio Lopez and Juan Ramos
Style.com

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