By Dean Rhys-Morgan
While Tony Viramontes' paintings seemed within the overdue Nineteen Seventies, his tough and direct variety of drawing used to be a marked distinction to the existing soft-pastel university of favor representation. He scored quick good fortune, quickly buying the type of prestigious editorial commissions often given to photographers, from Lei, according to Lui in Italy,Vogue within the united states, The Face in Britain, and Le Monde and Le Figaro in France.This attractive hardcover e-book brings jointly an in depth choice of his paintings, that includes outstanding pictures of smoldering and smoky-eyed women and men who vibrate with New Wave strength. Viramontes labored with the most celebrated names in model together with Yves Saint Laurent, Valentino, Chanel, Claude Montana, and Christian Dior. His pictures, from the graphics of Paloma Picasso and Isabella Rossellini to the album covers he conceived for Arcadia and Janet Jackson, completely catch the temper of the Eighties membership and style scene.
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Extra info for Bold, Beautiful and Damned: The World of 1980s Fashion Illustrator Tony Viramontes
It was coming out in handfuls,’ remembers Eugenia Melian, who arranged for him to see a doctor. ’ But his symptoms showed little sign of abating and by the end of 1986 Viramontes had been diagnosed with HIV and was seriously ill. This was the decade when sex turned deadly, as did the drugs that fuelled the revelry. The party that had begun so effortlessly lost its energy and the hangover kicked in. ‘Tony became anxious and scared when he got sick,’ remembers Brulé. The only person he told about his condition was his older brother Ed.
VIVA VALENTINO VIRAMONTES PRODUCED SOME OF VALENTINO’S MOST EVOCATIVE AND BEAUTIFULLY OBSERVED ADVERTISING IMAGERY. HIS ARTICULATE AND INIMITABLE LINE GAVE THE COUTURIER’S FRILLY, FROTHY GOWNS A BOLD AND CONTEMPORARY NEW TWIST. ROME, 1984 48 49 EXTRAVAGANT SIMPLICITY THROUGH SUBTLE WASHES OF COLOUR AND BOLD ELEMENTAL BRUSHSTROKES, VIRAMONTES SUGGESTS THE TEXTURE OF VALENTINO’S PATTERNED CHIFFON WITH AN ECONOMY OF EXPRESSION THAT GROWS INCREASINGLY VAGUE UNTIL THE DETAILS GRADUALLY DISAPPEAR. ROME, 1984.
ABOVE: TINA CHOW Similarly, Claude Montana allowed Viramontes an unprecedented level of creative freedom. ‘I would let him do what he felt like doing,’ remembers Montana, ‘he was an artist. I would sometimes show him a sketch of mine so that he would have an idea of my collection’s silhouette, or give him an indication of colour. A presentation at that time might have between ten and 15 groups of colours. He would pick one out of them and do a sketch. ’ Montana’s fashion shows were amongst the ﬁrst to excel in styling and presentation.