Political Facets of Fashion.

From the foreword  of Fashion Now 2: "...the items we choose to buy and wear are a reflection of our personal ethics and choices. ...It is not enough to know the source of the idea. ... ."  (p.28)  Briefly bringing to mind concerns of animal rights, environmental awareness, humane labor practices, and manufacturing ethics - this hefty but small book packs a big punch, brains and beauty.

I recently reread Fashion Now 2, published by Taschen and edited by Terry Jones and Susie Rushton - because one interview question particularly interested me:  "Can fashion still have a political ambition?"  To 160 fashion designers from around the world Fashion Now 2 offers a brief questionnaire. Not all answer the fashion-in-politics question and the reason for this is not evident... perhaps it was not included on all interviews, or some designers chose to avoid the question, possibly.  

Reading Fashion Now 2 the first time, the political aspects of fashion were not even clear to me.  However, the question's intrigue made it memorable to me... and I was reminded of it while reading a new post from Patricia Gaye Tapp at Little Augury (which you can read here).

Tapp's Little Augury post "Power and Style" introduces readers to one of her newest book selections - Power and Style: A World History of Politics and Dress, by Dominique Gaulme and Francois Gaulme - published by Flammarion.  Little Augury's review of Power and Style has me even more interested in the idea of political facets of fashion - hence, my second reading of Fashion Now 2 and its politically-related fashion inquiry.

From the book Fashion Now 2, here are a sampling of fashion designers' responses to the question:  "Can fashion still have a political ambition?"

Agent Provocateur (Serena Rees and Joseph Corre) - "At certain points in time fashion has been about joining a gang and the gang's objective can be political." (p.57)

Alberta Ferretti - "Particular styles in dressing can underline belonging to a group with a specific and identifiable ideology.  Only in that sense can we say that fashion has political ambition." (p.65)

Alexander McQueen - "Because fashion is so indicative of the political and social climate in which we live, what we wear will always be a symptom of our environment."(p.71)

Ann Valerie Hash - "Yes, to start with pants for women were a revolution.  To stop wearing the corset was also a new way to see women.  The best example is the tiny shoes that the Chinese women had to wear during the last century in order to get married - we used to teach them that small feet were more precious!" (p.85)

Antonio Marras - "Yes, of course!  Everything is politics: choose to wear a particular T-shirt, decide not to wear furs, broach certain matters.  Deciding how to live is politics." (p.91)

Barbara Bui - "Of course.  Fashion can convey declared or subliminal messages." (p.113)

Blaak (Aaron Sharif and Sachiko Okada) - "Fashion is a result of what is happening.  Hence political meaning can be decoded from what people wear, but not sure about political ambition." (p.119)

Boudicca (Zowie Broach and Brian Kirby) - "Yes - clothing throughout history has been used as a vehicle for Association/Revolution/Acceptance/Symbolism/Protest." (p.125)

Clements Ribeiro - "It is increasingly difficult to create and maintain a political stance as fashion is now such a big cultural/entertainment scene.  We don't believe the catwalk is a great space for political statements in our times, but outside of it, fashion can be a very cunning tool." (p.161)

C.P. Company and Stone Island - "I really hope so.  I will always defend respect, ethics and mutual understanding.  Fashion has to respect the individual and has to be ethical at every step of the supply chain." (p.179)

Dirk van Saene - "I am always skeptical about designers
(ab)using political statements in order to promote their product." (p.191)

E2 (Michele and Olivier Chatenet) - "Fashion is more a social message than political." (p.211)

Fendi (Maria Silvia Venturini Fendi) - "It should not - but it can because fashion has great power when it influences costume and society." (p.219)

Giambattista Valli - "Street fashion can have a political ambition, when it becomes a designer one, it is a moment after." (p.227)

Giorgio Armani - Yes, of course.  My notions of deconstruction were political in as much as I was advocating a change to the status quo - and I still believe that people should be allowed to be themselves where their clothes are concerned. (p.243)

Guiseppe Zanotti - For sure, fashion and art are instruments of communication and they throw out messages that can make a noise.
(p.245)

Hussein Chalayan - Fashion can be informed and inspired by political aspirations but to actually make it literally carry it  is in my view often contrived. (p.269)

Jens Laugesen - Yes, if fashion aims to relate to and reflect the world it evolves in and arrives from. (p.287)

Jil Sander - I see fashion as part of an ethic of the personal, which has to do with all the decisions, actions, and behaviour of a person. (p.297)

Katharine Hamnett - Yes, industry runs the planet and the fashion industry is the fourth largest.  How we design and consume fashion to an extent decides our future. (p.323)

Gary Harvey of Levi's - Absolutely, fashion should be political.  Clothing is a subliminal language that communicates how you want to be perceived, your personal identity is a political statement chosen each morning, be it 'boring conformity' or 'aggressive reactionary'. (p.237)

Hardy Blechman of Maharishi - Yes.  The media coverage it attracts means it can be an effective channel for expressing political messages.  Politically charged clothing can also help people assume their chosen political identity (for example, an environmentalist might wear hemp clothing and an anti-war protester might wear recycled military surplus). (p.341)

Marithe and Francois Girbaud - Perhaps not 'fashion' per se but the textile industry reaches everyone.  Buying and consuming are political acts.  It's easy to condemn Third World countries which produce at very low prices while we are the ones shaping that situation with our conquest or economic wars with napalm and guerillas. (p.361)

Mihara Yasuhiro - I think so.  Fashion is one way of expressing political beliefs and interests.  Everyone pays attention to fashion so it's easy to convey anything to people.  It's one of the privileges in fashion, I guess.  However I think fashion today is more concerned with business and a label is rated against its sales figures.  I think it's such a shame. (p.375)

Angela Missoni of Missoni - Fashion is mirroring women's condition, it talks of the freedom most women have on this planet.  It is a medium of expression and a channel of communication: the authority of fashion brands can be used to bring to the public attention crucial problems of our culture and society, to raise funds and to increase public participation. (p.379)

Richard Nicoll - Of course, but I think it falls on deaf ears.  Maybe to have a social conscience is not really in harmony with the essence of the fashion industry. (p.433)

Rick Owens - I've always seen fashion as a response, reaction or protest to social conditions.  I'd have a hard time considering it more... . (p.437)

Roberto Cavalli - I believe that fashion has partially lost its political ambition.  Just think about the difference between the folk fashion in the '70s and the ethnic trend of the last period: while in the past it meant a radical rebellion against the institution, nowadays it represents a charming journey towards unexplored territories in search of new vibes. (p.441)

Olivier Theyskens of Rochas - As fashion designers, we're obviously reacting to our environment (even if you're denying it by escaping reality).  Then we're expressing a certain point of view which can be considered as social and political. (p.445)

Rogan (Rogan Gregory) - Oh yeah, there has to be more to life than the daily rat race.  It's time to pay attention to what is happening around us.  The health of the planet and the people living on it is in jeopardy.  You can make a difference by what you choose to purchase and the lifestyle you choose to lead.  Why not choose to buy clothes made of responsible materials and manufactured by responsible people.  We have a responsibility to future generations to take care of the planet one step at a time. (p.449)

Sofia Prantera of Silas - I feel it is impossible to still make a political statement with clothes.  But you can make it with the way you run your business and portray yourself, if that counts. (p.453)

Siv Stoldal - Clothes are a very powerful way to communicate.  A designer's work ends up being worn on somebody else's skin and taking part in somebody else's life.  So political ideas can definitely be communicated through fashion by designers prepared to address them. (p.455)

Stephan Schneider - As all ideas in fashion are used by the mass industry to sell their products, the 'stop the war' T-shirts hang all over the high streets.  The message became a commercial stunt.  I guess every designer has the desire to reflect and influence our thoughts by his work.  This means politics to me. (p.467)

James Jebbia of Supreme - I think that it can, whether the message actually resonates with the people that you're ultimately trying to reach is another story though, at least here in America... . (p.473)

Valentino - (Valentino Garavani) Yes, because fashion gives work to so many people that it is a very important political power. (p.489)

Vanessa Bruno - Yes, I think there is a missing representation of women in the fashion world.  "Doll models".  Let's give them space to be real women. (p.491)

Vivienne Westwood - I look upon government as a one-way corridor, to facilitate the interests of business.  At the same time, the government tries to convince everybody else that this is good for them.  And so people are being trained by the media to be perfect consumers of mass manufactured rubbish.  The people who wear this stuff have bought the system, and their appearance demonstrates the fact that their brains have been removed.  I think it's important to make great clothes so that people can look individual, and not a product of mass advertising. (p.511)

Yohji Yamamoto - ... Art cooperates by resistance.  In this sense, fashion could have something to do with social ambition.  But political ambition?  I don't see it in fashion.  But, if fashion does have such ambition, I would describe it as 'freedom'! (p.521)

Stefano Pilati of Yves Saint Laurent Rive Gauche - I think it would be genius if we achieved that.  It would be a very mature step for fashion, to show that we can communicate something.  Personally speaking, knowing how much I put into my work, such as a spiritual sense of making clothes, or the thoughts I have around women's evolution, men's roles, society and all of that; why not exchange it?  Now could be a good moment to do that.  Benetton was probably the only one who broke those barriers because it had that really huge machine behind it. (p.527)

Zero Maria Cornejo - Fashion can provoke thought and discussion, and through uniforms provoke fear and repression. (p.531)

I woke up this morning, thinking of uniforms, the contrast of a bride's dress compared to those of her ladies-in-waiting, wigs worn by British Parliament, statement T-shirts, and the robes of clergy - and decided that yes, fashion certainly does have political facets - whether it represents higher authority, importance, protest, or representation of concepts.  Perhaps now you - will too - see the clothing you wear, as not just something chosen for protection or warmth - but a creation touched by many hands and proclaiming many ideas.

Something Plastic: in The Ocean.

Thinking about the flexibility of the minds of youth, I mentioned to my nephew a problem - plastic in the ocean, loads and loads and loads and tons of it.  It seems a good idea for everybody to brainstorm and suggest solutions, since the majority of us contributed to the problem.  My husband instantly volunteered an idea, which you can read at the end of this post.

The plastic was something that crept into my life when I read Alan Weisman's The World Without Us, not the sort of book I normally escape into - but the sort that jangles like an old-fashioned alarm clock.  That was several years ago and my interests drifted to happier things.

Still, the plastic is out there - floating in the ocean - and the idea of it creeps up again and again.  You see plenty of information about it online... The Great Pacific Garbage Patch, the Eastern and Western Garbage Patches. There are various theories even about what the something-plastic should be named or called. Maybe calling it the "great" anything is not such a great idea... "hideous" is more appropriate.  

Now, attempting to put a positive spin on the matter of this something-plastic (which was my intention in mentioning the problem to my nephew too): What do you suggest we do about the plastic in the ocean?  This is, after all, not just a blog about art and fashion - but also a blog about creative-thinking.  Maybe sometimes the best creative-thinking is applied to the ugliest-of-situations.  Creative thinking solves problems.

If you're ready for this Something-Plastic-Challenge, read about marine debris here and here, then leave a comment with your suggestions - even if your idea has some flaws or aspects you can't quite resolve, it may contain a spark of genius.

For a start, here's my husband's Something-Plastic Solution.  After reading information at the above links, I see some aspects of it are feasible - but not all.  The "garbage patch" is not as clearly defined as it may sound, also - there are precious sea creatures living among our garbage we've created.  But, we have to start somewhere:

"Create a barge city, especially for this purpose, to float alongside the plastic-polluted area - working for 20 years, until it consumes the debris.  The barge city would act as a giant insect - eating away at and recycling the plastic.  Gnawing the plastic with suction or rakes, possibly melting the plastic - this recycling plant would extrude plastic pipe or chips - raw and in a usable form, for roads or other purposes."

I like my husband's idea of using recycled plastic-chips in roads, because that confines the plastic, fixing it in place (think of terrazzo) and prevents it from returning to the ocean. Other methods of recycling plastic, such as creating more containers - still leave the problem unresolved.

La Criniere d'Un Lion.

Elle Fait La Criniere d'Un Lion.  Photos Toile La La.

See the photo poem at Toile La La.

La Criniere d'Un Lion.  Toile La La Photo and Poem.

Karen Winslow Interview: Sewing Pattern Illustrators Part 3.

1970s Karen Winslow fashion illustration for McCall's 4170 Misses Jacket and Pants.

From the desk of Toile La La at Art Fashion Creation:

Here, you have recently seen two posts featuring the story and artwork of fine artist Karen Winslow, a former sewing industry fashion illustrator.  Today's post presents Part 3: the Karen Winslow Interview.

From 1970 to 1977, Winslow was an artist for Simplicity, McCall's, and Butterick patterns, illustrating clothing for children, teens, and misses - with pen, marker, gouache, watercolor, and charcoal.  Her work appeared in the big pattern catalogs and on sewing pattern envelopes - as well as in monthly booklets - and in Earnshaw's Review, a children's fashion industry magazine (one of her favorite jobs).

During the time she created these illustrations, Winslow attended the Art Students League from 1972-1978 to learn to paint.  It was odd to "switch gears", says Winslow, "One form of art was very commercial, and I used outline to make figures that were stylized and flat. The other form was serious, and I tried to create an illusion of light, form and space in a realistic manner."  Freelance fashion illustration was the bridge from sewing industry illustration to Karen's focus on fine art painting today.  Along with her husband Jack - at Winslow Art Studios, she currently teaches painting workshops and spends time with her children and grandchildren (who frequently model for alla prima portraits).

Over the course of our interview/conversation - it was especially interesting to hear Winslow's observation of the industry's transition from illustration to photography for promotion of sewing patterns.  "Photography began to play a bigger and bigger role in the pattern industry, with illustrations and photographs sharing the same page," says Winslow.  She mentions that around 1974, McCall's began to offer "Sew for Fun" patterns, offering projects primarily for teens:  "This is where photography appeared more and more."

I met Karen after she left a comment at an Art Fashion Creation post mentioning the mysterious and unknown sewing pattern illustrators.  Karen and I discussed the lack of artist attribution on sewing patterns and never really came to a conclusion about artist anonymity.  The lack of attribution is still a mystery, but Wilson says she did manage to include her signature on a few illustrations - which you will see at post's end.

Toile La La: Karen, how did you find your way into sewing pattern illustration and did you study specifically for pattern illustration?

Karen Winslow: When I decided in high school that I wanted to be an artist, my parents were very worried.  Since I liked drawing people, the guidance counselor suggested fashion illustration, and assured them that I could get a regular job doing art.  So, after high school, I studied fashion illustration and advertising design at the Fashion Institute of Technology.  At the school, I concentrated on fashion drawing and figure drawing.  You were not specifically trained to do illustrations for pattern companies, that was just one arena that used illustrators.  Since it was one of the only areas that used color illustrations, I applied to pattern companies and had my first job - in 1970 - as a design department "sketcher".

Sketchers worked for the designers, drawing out the designer's ideas.  Pattern companies took their cue from what was popular:  the "new" colors, fabrics, skirt lengths, pant widths, waistlines, etc... .  They would copy a popular design, but simplify it down to a few key pieces for sewing enthusiasts.  I worked specifically with the children's designer.  These drawings were rendered in full color, but not published.  Instead, these illustrations were sent to the art department, and another illustrator would then produce the drawing that would go into the catalogs and on the envelopes. 

I really wanted to be in the art department, not the design department.  I was more interested in the art part, rather than the design aspect...which I found a little odd, since (in fact) designers were just copying clothes that were already ready made.  I don't think it really bothered other sketchers.  I wanted to be an illustrator - illustrators were paid better than sketchers and their work was published in the catalogs.  So, eventually, I applied to be a staff artist - which was much better for me. This was in late 1971, and my work started appearing in sewing industry catalogs and envelopes.

TLL: I am interested in hearing about your work environment and whether you worked with other illustrators in a studio near the garment designers, or if you completed assignments in your own home studio. Please describe your artist lifestyle during the sewing pattern fashion illustration years.

K. Winslow: As a sketcher, I worked in a room with the children's clothing designer and another sketcher.  We each had our own drafting tables, taboret, brushes and paints.  When I started working as a staff artist, I worked in a room with about 5 other artists.  Again, we all had our own drafting tables and supplies.  Of the 5 in the room, 2 of them were "correction" artists.  A correction artist is like a proof-reader and does not illustrate.  The correction artist checked my illustration to make sure buttons were spaced correctly, widths, gathers, top-stitching, etc... were in correct proportion for the clothing.   In other words, a pencil skirt couldn't look like a flared skirt.

As a staff artist, I was not working with a designer anymore...I was part of the art department, and I was given assignments by the art director.  Some illustration assignments went to freelance artists and the rest were done by staff artists.  I worked staff, honing my skills and experimenting with techniques for about a year and a half.  My husband went to the Art Students League and learned to paint.  After deciding I wanted more from my art, I quit my staff position and began freelancing in order to go to the Art Students League 5 days a week.

I studied Classical painting at the Art Students League from 1972 to the beginning of 1978, while doing freelance fashion illustration for a living during the same period.  Since I was no longer a staff artist, I worked alone and all of my freelance work was done in my apartment in Brooklyn.

TLL: Did you have illustration mentors or experienced industry artists who encouraged or guided you?

K. Winslow: I didn't really have mentors, per se, but my colleagues were always willing to offer suggestions or technical aid, if needed.

TLL: If you sew, was that knowledge an asset to your illustration?

K. Winslow: Yes, I did sew simple things, and I guess the knowledge helped with the illustrations.  It is good to understand construction and how seams or fabric are supposed to behave.

TLL: Here are several questions to generate memories: Please describe a typical day working as a sewing pattern illustrator...
Did you work from live models or photographs?
Did you discuss illustrations with the pattern designers?
Were you interested in fashion design... creating inspiration boards, or ever making design suggestions to the pattern manufacturers?

K. Winslow: On staff, a typical day would be receiving an assignment, dressing the sewing mannequin in the mock-up garment, scribbling out ideas for figures,  and having these approved by the designer and the art director.  Then, this rough draft went to the correction artist.  Tracing paper was placed over the rough draft and corrections were made on this.  The drawing was then returned to me, and I incorporated the corrections into the finished illustration.   Small swatches of various fabrics, as well as clipped photos of shoes, hairstyles, bracelets, etc. provided by the designers were used to create the finished pieces.  The finished illustration then had to be approved by the designer, art director, fashion director, and others.  If approved, the illustration was published as a catalog page and envelope.  Turn-around was about a week, but could be less. On staff, I received feedback right away.   When I freelanced, I had to pick up my assignment, which included a mock-up garment sewn in muslin, the designer's sketch, the swatches and the magazine clips of accessories, etc.  Then, I went home and worked up a rough draft to return the next day or so.  The correction artist marked the corrections, then I would return to pick up the corrected rough draft before working on the final colored illustration.  With time constraints and deadlines, I often stayed up all night working on the finished product in order to meet the deadline.  

Coming up with various layouts and poses for the figures was challenging.  I poured over magazines trying to get ideas for poses, and I used a mirror... getting into a pose myself to refine what I wanted.  When I freelanced, I sometimes could get a model, but mostly, I used the mirror. 

Since I was in the art department, the art director, or assistant art director conveyed what the designer wanted... the look, the feel, etc.  When I worked as a sketcher with the children's designer, she often asked for suggestions or opinions about designs, and that was fun.  In the art department, I was only expected to translate the designer's idea into a nice, easy to read, illustration.

TLL: Karen, you previously  mentioned the pattern designers specified exact ages for children in your illustrations. Were there many more specifications or suggestions regarding your artwork? Did the art director provide you with fashion tearsheets or other pattern artwork as inspiration?

K. Winslow: The ages, hairstyles, accessories, shoes, etc. were chosen for particular looks and provided by the pattern designers.  In my experience, the artists were given photos and color swatches for everything.  I was free to interpret these, as well as pose and compose my figures, in my own way... as long as it showed the clothing in its best light. 

TLL: As a sewing pattern illustrator, did you meet any pattern artists with considerable experience in the industry?

K. Winslow: I only really saw other illustrators when I worked on staff.  With freelancing, you are on your own.  I have stayed in touch with one always helpful and lovely illustration buddy who was with me at Simplicity and McCall's, then went on to teach at the Fashion Institute of Technology and Parsons.

I transitioned entirely to painting by 1979 - selling my work through various galleries.  Some of my illustration friends continued to work in the industry for much longer.  Josie Vargas and Bina Abling both worked at McCall's with me.  Josie and I worked in the design department at Simplicity.  To my knowledge, they still work in the industry, although they primarily teach - for the Fashion Institute of Technology and Parsons. 

TLL: What obstacles - if any - do you feel may be specific to the life of a female artist? And then, what qualities might a female artist contribute which might set her apart from that of male counterparts?

K. Winslow: While I was illustrating and going to school to learn to paint, I did all this before I had any children.  One of the most difficult things about being a female artist is juggling family.  Once you have children, getting to paint or illustrate is harder.  Your time is no longer your own.  In my particular family, my husband is also a fine artist.  So, when our children came along, we took turns painting and taking care of the kids.  I became a very fast painter, and I learned to paint and talk to kids at the same time.  This skill helped a lot when I began teaching.  I can paint and answer questions at the same time.

TLL: Of your illustrations - which are your favorites, why?

K. Winslow: I have been digging out whatever illustrations I've stashed away, and many of them have taken a beating.  It is hard for me to say which illustrations were my favorites.  I liked trying different things, and I enjoyed whimsical aspects.  Earnshaw's Review (the industry magazine for kid's clothing) gave me the widest berth in interpreting and I could illustrate the clothing in more creative ways, so they were extra fun.

TLL: I'd love to hear any other favorite memories you want to share from your life as an artist.

K. Winslow: One of my funny memories as an illustrator was having a nom de plume.  A person designated to "approve" my illustrations thought "Karen's" line work was a bit too cartoony, so I developed my charcoal/wash style as "Lorraine".  Sometimes an illustration assignment was a toss-up between Karen and Lorraine. Either way I got to do the drawing.  The art department all knew, and we all thought it was pretty funny.
I sent in my bill as Karen, not Lorraine. 

Memorable things in the fine arts would be getting a major article in American Artist magazine (February 1991) and being invited to a museum in Japan to do drawing demonstrations to help celebrate Culture day (1992).

TLL: When viewing today's styles, are there any particular designers or trends you think might be nice illustrations or painting inspiration?

K. Winslow: Today's styles...um, I am a pretty practical person...after all, everything I own at some point gets paint on it, and I live in a very rural place.  So, practical ensembles of shirts, jeans, and clogs seem to make up my wardrobe.  If I could paint or illustrate a style... well, like most people, I loved Downton Abbey, and seeing those styles was amazing. For me, Downton Abbey was like seeing a John Singer Sargent portrait come to life.  I would love to paint this.  The colors, cuts, drape, hats... everything was so lovely!  I personally love the styles in the 1920s and 1930s.

TLL: Did the pattern companies maintain illustration archives, Karen? I'm sure they must have maintained archives for the actual flat patterns and maybe even for the written instructions (which also changed with the times), but - speaking personally, to have witnessed an archive of sewing pattern illustrations would be heavenly! If a sewing pattern illustration museum existed, I would never want to leave.

K. Winslow: They had archives for a while.  Some of the illustrations were up on the walls as decoration, when I was there, but these were usually ones that were selling the most patterns.  Here's an odd fact, the sweatshirt pattern I illustrated (with the 4 figures) was one of their top sellers for a while, when I was working for McCall's.  I thought that was really weird... really.  I wondered - who would sew a sweatshirt? I found out that a lot of illustrations were donated into other archives (I think Parsons had some), but eventually they were thrown away.  Josie recognized and managed to salvage some of my black-and-white Butterick illustrations when they were being tossed.

Karen Winslow 1970s fashion illustration for McCall's 4220 hooded-jacket and top.

  TLL: Karen, from an early age - did you know you wanted to be an artist - or that you were already an artist? Was fashion illustration a goal to which you aspired, or did fashion illustration find you?

K. Winslow: As a child, I loved to draw and never had enough paper.  As a little girl in the 50s, I looked forward to getting my Betsy McCall paper dolls and making loads of extra outfits for her.  That, to some degree,  subconsciously influenced me to illustrate fashion. As a fashion illustrator then, I always felt like a grown-up playing with paper dolls... especially when I illustrated the children's clothes.

TLL: To expedite your illustration work, Karen - did you develop illustration templates for yourself... for instance, assembling poses, faces, gestures which you could reuse - or use again with minor adjustments?

K. Winslow: I did repeat some poses, but I always worked them afresh...using myself as a reference.  Art directors might suggest a look or a feeling, but I was left to my own devices, for the most part.  They were interested in getting clear pictures of the clothing construction in a visually pleasing way.

TLL: Karen, we never really came to a conclusion about the omission of pattern artist's names.  Did you request attribution for your illustrations?

K. Winslow:  I think I asked once about signing work... the response, I believe, was something like this:  If you signed the illustration, people would believe that you designed the outfits.  The bottom line for pattern companies was selling patterns.  It was a product, and for a long time artists got to present the product.  Perhaps, it was just cheaper to present the product with photographs, or they thought the patterns would sell better showing real people wearing them.  

Here are a few of Karen's illustrations - some with signatures:

Karen Winslow 1970s McCall's 4104 Misses dress and top fashion illustration for sewing pattern.

  

Karen Winslow 1970s McCall's 3663 Girls bell-bottom pants fashion illustration for sewing pattern.

Karen Winslow 1970s fashion illustrations of Kenzo designs for the sewing industry.

Karen Winslow 1970s fashion illustrations of Betsey Johnson designs for the sewing industry.

Karen Winslow 1970s  illustrations of children's fashion trends for the sewing industry.

Karen Winslow 1970s fashion illustrations of children's clothing designs for the sewing industry.

Karen Winslow 1970s children's sewing pattern illustrations.

Karen Winslow 1970s fashion illustration for Butterick.

Karen Winslow 1970s fashion illustration for Butterick.

Karen Winslow 1970s fashion illustration for Butterick - notice signature in weave of wicker chair.

Karen Winslow 1970s fashion illustration for Pandora.

Karen Winslow 1970s fashion illustration for Pandora - zoom-in of signature beside roller-skate.

Karen Winslow 1970s fashion illustrations of Kenzo designs for the sewing industry.

Karen Winslow (signed) 1970s fashion illustration for McCall's children's apron/tote bag accessory.

Karen says, of the illustrations above:  "If you look closely at the cover of the Butterick booklet with two women seated on a wicker chair (June 1974), I signed "WINSLOW" in the base of the chair as part of the weave.  That booklet was the first one I illustrated for them.  I did a lot of freelance work for Pandora and signed the little promotional postcard.  On the little back view for children's apron/tote accessories - I signed "KAREN" on the bag."

TLL: Karen, in addition to favorite subjects, artistic mediums, and preferred colors - would you like to mention artists you admire?

K. Winslow: I love to paint a good illusion of light, whether it is landscape, still life or portrait, my real subject is light.  Painting people is always the most challenging...and I love painting people.  I am primarily an oil painter, but I enjoy switching mediums.  I like all colors, but earth tones seem to find their way into most of my work.  As a fine artist, I like Rembrandt, Vermeer, Velasquez, Sargent, etc.

As an illustrator, I love Jessie Wilcox Smith, NC Weyth, Lisabeth Zwerger, Blanche Fisher Wright, and E. H. Shepard.  A post featuring Winslow's admired artists and illustrators appears here. 
TLL: Do you have any book recommendations for people interested in fashion illustration, or can you recommend fine art technique books?

K. Winslow: Books...well, I would always have people look at good illustrations.  Look at, not just fashion, ... but line and graphics.  Yes, I suggest students of art and illustration consider and look at all types of illustration and good paintings (go to museums) to see how other artists worked, so that visual problem-solving skills are improved.  Painting and illustrating incorporate designing with line and tone.  Studying the way other artists draw - and practicing a lot - will help improve your own drawing skills.  Fashion illustration, especially for patterns, is a very narrow slice of the overall field of illustration, and an even smaller view of the field of art in general.  Artists should be open to learning.  Being an artist is a life-long journey... you never quite arrive.  There is always room to improve and grow.

Bina Abling, a former illustration colleague at McCall's and now a teacher at FIT and Parsons, went on to write a book about fashion illustration.  Abling's Fashion Sketchbook has had many editions, and it apparently is a practical, standard text in most fashion illustration classes.  Bina also has very helpful fashion illustration videos on YouTube. 

Looking at anatomy books or books on figure drawing, I think, is most valuable.   Andrew Loomis wrote some of the most practical books on figure drawing and illustration.  He was an illustrator of the 1940s/50s, and he wrote several terrific books on drawing, one being:  Figure Drawing for All It's Worth.  It was out of print for many years, but that along with some of his other books are now being reprinted, and they are worth buying!

TLL: Were you to mentor or advise a young person interested in fashion illustration today, describe your recommendations - or basic plan.

K. Winslow: My recommendations would be to learn to draw.  Study with someone you admire and learn all you can.  Go to museums.  Go to the Society of Illustrators website.  Soak up books with great drawings and illustrations.  Nothing beats drawing from a model.  Learn to draw figures well enough to be able to draw them out of your imagination.  If you use photos, use them as references, not to copy, but to get ideas for poses. I don't think you can suppress your personality. It will emerge, even though the technique or purpose may change.

Both commercial and fine art are very competitive. Being successful is a combination of skill, hard work, marketing, and more often than not... luck, or being in the right place at the right time.

TLL: Karen, I have really enjoyed seeing your artwork - your 1970s fashion illustrations and your current paintings at the Brushwork blog as well.  It is fascinating to learn all the details involved in the process of converting a clothing design to a fashion illustration one sees decorating the face of a sewing pattern.

K. Winslow: We may never know the many sewing pattern illustrators of the past, Toile La La - but they created a wonderful record of who we were and how style changes.  I am glad I could help shed a little light on how the pattern illustration industry worked in the seventies!