Pink
Untitled, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This design adapts a photograph of Argentinian radical Ernesto (‘Che’) Guevara by Alberto Korda. The photograph was used as the basis of several OSPAAAL poster designs.
JULY 26 - DAY OF WORLD SOLIDARITY WITH THE CUBAN REVOLUTION, 1975
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This design promotes 26 July as a day of solidarity with the Cuban Revolution. The revolutionary 26th of July Movement led by Fidel Castro took power in Cuba in 1959.
Jo Brocklehurst, Untitled (from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Poster for The London Drawings at Francis Kyle Gallery, 1981
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This poster was produced for The London Drawings, Brocklehurst’s first exhibition at Francis Kyle Gallery.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1427, 'Mary Plain Goes to America: Part 2 - The Most Popular Person on Board'. It aired on 14 November 1972.
Day of Solidarity with the Afro-American People - August 18, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. They also criticised the foreign policy of the U.S.A. and supported the Black Power movement.
Content warning: weaponry
angola - Day of Solidarity - 4 February, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This poster commemorates the beginning of the Angolan War of Independence on 4 February 1961.
Content warning: weaponry
AFRICA, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. Many OSPAAAL designers combined images of Indigenous art and craft with weaponry. Their aim was to argue for the right to self-determination and support liberation movements opposing colonial and imperial powers. However, the designers did not always know the meaning or origin of the iconography they used.
Content warning: weaponry
Untitled illustration for Jackanory (Just So Stories: The Elephant's Child), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1450, 'Just So Stories - The Elephant's Child'. It aired on 1 January 1973.
Lo Cheng, The boy who wouldn’t keep still, 1942
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
CUBA - July 26 - 1968, 1968
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. From the 1960s, painter Raúl Martinez started working as a graphic designer, drawn to the social impact of posters and magazines. He was known for his portraits of well-known revolutionary icons, but to commemorate the 26th of July Movement he portrayed an anonymous Cuban patriot.
DAY OF THE HEROIC GUERRILLA - OCTOBER 8, 1968
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. From 1968, 9 October was designated as the ‘Day of the Heroic Guerilla’ to mark the anniversary of Che Guevara’s death. Helena Serrano was working at the Cuban government’s propaganda commission when she was asked to produce this poster, her only design for OSPAAAL.
Jo Brocklehurst, Untitled (portrait of Tony Drayton), 1981
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1980s, Brocklehurst drew a series portraits of members of the Kill Your Pet Puppy collective who were living in a squat close to her studio. Attracted to their anarcho-punk dress and ethos, she said “I felt that they understood very well what was going on in the world, what was in it for them”. This portrait is of Tony Drayton, founder of Kill Your Pet Puppy and punk fanzine Ripped And Torn.
Untitled illustration for Jackanory (Just So Stories: The Elephant's Child), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1450, 'Just So Stories - The Elephant's Child'. It aired on 1 January 1973.
Jo Brocklehurst, Untitled (portrait of Josephine Leask), 2000
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 2000, Brocklehurst created a series of drawings in sessions with dancer Josephine Leask. Leask’s 1999 article Welcome to the Club, published in ballettanz magazine, described the ways that nightclubs were acting as alternative theatres for cutting-edge contemporary dance. These drawings were shown as part of Leask’s lecture-performance on the same theme at the 2000 Salzburg Festival.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
DAY OF SOLIDARITY WITH GUATEMALA - FEBRUARY 6, 1970
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South.
Content warning: weaponry
Untitled illustration for Jackanory (Just So Stories: The Elephant's Child), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1450, 'Just So Stories - The Elephant's Child'. It aired on 1 January 1973.
Jo Brocklehurst, Poster for Brocklehurst exhibition at 112 Greene Street, 1983
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This poster was produced for Brocklehurst, her first exhibition in New York presented by Francis Kyle Gallery.
Content warning: nudity
Jo Brocklehurst, Untitled (portrait of Betty Blue), 1994
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1990s, Brocklehurst began drawing the fashion designers and performers finding space for experimentation in the fetish clubs of Soho and King’s Cross.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Untitled, 1974
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South.
Jo Brocklehurst, Untitled (portrait of Eve Ferret), 1978
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This portrait of performer Eve Ferret was made around the time Ferret was performing cabaret at London’s Blitz Club with James ‘Biddie’ Biddlecombe.
Untitled illustration for Jackanory (Just So Stories: The Cat who Walked by Himself), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1452, 'Just So Stories - The Cat that Walked by Himself'. It aired on 3 January 1973.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Jacqueline Ayer, Design Thai tunic, c. 1965
In the early 1960s, Jacqueline Ayer founded textile and garment company Design Thai, funded by IBEC (International Basic Economy Corporation) under Norman Rockefeller. The first printed fabrics were inspired by ancient Thai designs from carvings, temples, porcelains, and printed cloths in the vaults of the National Museum Bangkok. Design Thai opened a shop in Bangkok in 1962, and expanded to offer a line of ready-to-wear clothing. In the years that followed, Design Thai went from strength to strength, opening branches in New York and Hong Kong.
Jo Brocklehurst, Untitled (White Rabbit from Brocklehurst Through the Looking-Glass), 2003
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1427, 'Mary Plain Goes to America: Part 2 - The Most Popular Person on Board'. It aired on 14 November 1972.
week of world solidarity with the peoples of asia - september 30/october 6, 1967
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South.
Jacqueline Ayer, Design Thai dress, c. 1965
In the early 1960s, Jacqueline Ayer founded textile and garment company Design Thai, funded by IBEC (International Basic Economy Corporation) under Norman Rockefeller. The first printed fabrics were inspired by ancient Thai designs from carvings, temples, porcelains, and printed cloths in the vaults of the National Museum Bangkok. Design Thai opened a shop in Bangkok in 1962, and expanded to offer a line of ready-to-wear clothing. In the years that followed, Design Thai went from strength to strength, opening branches in New York and Hong Kong.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1427, 'Mary Plain Goes to America: Part 2 - The Most Popular Person on Board'. It aired on 14 November 1972.
Jo Brocklehurst, Untitled (drawing of Die Eingeborene), 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances. This drawing is from a performance of Die Eingeborene.
DAY OF SOLIDARITY WITH THE PEOPLE OF LAOS (OCTOBER 12), 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This design encouraged solidarity with Laotian people on the same date as the founding of the nationalist movement Lao Issara (‘Free Laos’) on 12 October 1945.
Content warning: weaponry and religious iconography
Cover jacket proof for "The Essence of Beauty", 1959
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. This non-fiction book was an account of the history of perfume and cosmetics.
Alexander the circus pony, 1943
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
Jo Brocklehurst, Untitled (Red Queen from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Untitled (Alice from Brocklehurst Through the Looking-Glass) , 2003
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Untitled (White Rabbit from Brocklehurst Through the Looking-Glass), 2003
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jacqueline Ayer, Untitled (Handmade book for Margot), 1960
Jacqueline Ayer (1930–2012) had a career that spanned many creative fields. She began as a fashion illustrator, and later turned her hand to children’s books, textiles and garments, as she worked in New York, Paris, London, Bangkok, Hong Kong and across India. Jacqueline Ayer could not find children's books for her daughters when she first moved to Bangkok, Thailand, and so she made this nursery rhyme book out of magazines.
SOLIDARITY WITH THE AFRICAN AMERICAN PEOPLE - AUGUST 18, 1968, 1968
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. They were also connected to the Black Panther Party, a political organisation based in Oakland, California. Designer Emory Douglas was “glad to see” his illustrations for the Black Panther Party’s newspaper repurposed by OSPAAAL. Douglas’ image reflects the party’s line on carrying arms: “we believe we can end police brutality... by organising black self-defence groups that are dedicated to defending our black community from racist police oppression and brutality.”
Content warning: weaponry
Jo Brocklehurst, Untitled, 1979
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled (White Rabbit from Brocklehurst Through the Looking-Glass), 2000s
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Eternal Theatra, Date unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled, Date unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1429, 'Mary Plain Goes to America: Part 4 - Hollywood's Newest Star'. It aired on 16 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1429, 'Mary Plain Goes to America: Part 4 - Hollywood's Newest Star'. It aired on 16 November 1972.
CREATE TWO, THREE...MANY VIET-NAMS, THAT IS THE WATCHWORD, 1967
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. The first edition of OSPAAAL’s Tricontinental magazine was a special supplement dedicated to Che Guevara’s Message to the Tricontinental. His manifesto presented Vietnamese Communists opposing U.S. military forces in Vietnam as a model for patriotic resistance. It contained the only poster of the guerrilla leader made during his lifetime – Guevara was killed in Bolivia six months after its issue. OSPAAAL’s designers often used repetition of photographic as a way to create bold illustrations with limited resources. The studio’s first art director Alfredo Rostgaard said that “from the need to solve our material problems, we began to discover new forms”
Jo Brocklehurst, Untitled (portrait of Val Drayton and Julian), 1981
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1980s, Brocklehurst drew a series portraits of members of the Kill Your Pet Puppy collective who were living in a squat close to her studio. Attracted to their anarcho-punk dress and ethos, she said “I felt that they understood very well what was going on in the world, what was in it for them”.
Jo Brocklehurst, Untitled (portrait of Angie), 1984
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1980s, Brocklehurst drew a series portraits of members of the Kill Your Pet Puppy collective who were living in a squat close to her studio. Attracted to their anarcho-punk dress and ethos, she said “I felt that they understood very well what was going on in the world, what was in it for them”. This portrait is of Tony Drayton, founder of Kill Your Pet Puppy and punk fanzine Ripped And Torn.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Jo Brocklehurst, Untitled (drawing of Die Eingeborene), 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances. This drawing is from a performance of Die Eingeborene.
Book cover proof for Colette's "Claudine and Annie", 1962
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. She designed the covers of several books by French author and pioneer of autofiction Sidonie-Gabrielle Colette.
Rough cover illustration for "The Essence of Beauty", 1959
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. This non-fiction book was an account of the history of perfume and cosmetics.
Jo Brocklehurst, Untitled, 1980
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled, Unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled (drawing of Die Eingeborene), 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances. This drawing is from a performance of Die Eingeborene.
Jo Brocklehurst, Untitled (White Rabbit from Brocklehurst Through the Looking-Glass), 2000s
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1427, 'Mary Plain Goes to America: Part 2 - The Most Popular Person on Board'. It aired on 14 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1429, 'Mary Plain Goes to America: Part 4 - Hollywood's Newest Star'. It aired on 16 November 1972.
Jacqueline Ayer, Untitled, c. 1959
Jacqueline Ayer (1930–2012) had a career that spanned many creative fields. She began as a fashion illustrator, and later turned her hand to children’s books, textiles and garments, as she worked in New York, Paris, London, Bangkok, Hong Kong and across India.
Jo Brocklehurst, Untitled (Duchess from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Untitled, 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances.
Untitled, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. Alfredo Rostgaard was OSPAAAL’s creative director from 1966 to 1976. His began his career as a caricaturist for socialist children’s comic Mella. Rostgaard’s vampire-like US Air Force soldier is being driven like a machine. His design was used by OSPAAAL to criticise US military action.
Content warning: weaponry
Jo Brocklehurst, Untitled (drawing of the Spiegelzelt), 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances. This illustration accompanied a review of play Onkel Wanja, published in Berliner Zeitung on 5 May 1999, but is a drawing of the Spiegelzelt, a tent used for talks and evening events.
Jo Brocklehurst, Untitled (portrait of Josephine Leask), 2000
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 2000, Brocklehurst created a series of drawings in sessions with dancer Josephine Leask. Leask’s 1999 article Welcome to the Club, published in ballettanz magazine, described the ways that nightclubs were acting as alternative theatres for cutting-edge contemporary dance. These drawings were shown as part of Leask’s lecture-performance on the same theme at the 2000 Salzburg Festival.
Untitled illustration for Jackanory (Just So Stories: The Elephant's Child), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1450, 'Just So Stories - The Elephant's Child'. It aired on 1 January 1973.
Jo Brocklehurst, Untitled (portrait of Val Drayton and Lou Challice), 1981
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1980s, Brocklehurst drew a series portraits of members of the Kill Your Pet Puppy collective who were living in a squat close to her studio. Attracted to their anarcho-punk dress and ethos, she said “I felt that they understood very well what was going on in the world, what was in it for them”.
Jo Brocklehurst, Untitled (drawing of “Ich bin ja so allein”: Reflexionen mit und ohne Klavier), 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances. This drawing is of a festival event, “Ich bin ja so allein”: Reflexionen mit und ohne Klavier.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1429, 'Mary Plain Goes to America: Part 4 - Hollywood's Newest Star'. It aired on 16 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1427, 'Mary Plain Goes to America: Part 2 - The Most Popular Person on Board'. It aired on 14 November 1972.
Jacqueline Ayer, Untitled, c. 1965
In the early 1960s, Jacqueline Ayer founded textile and garment company Design Thai, funded by IBEC (International Basic Economy Corporation) under Norman Rockefeller. The first printed fabrics were inspired by ancient Thai designs from carvings, temples, porcelains, and printed cloths in the vaults of the National Museum Bangkok. Design Thai opened a shop in Bangkok in 1962, and expanded to offer a line of ready-to-wear clothing. Design Thai's collection of garments showcased Ayer's own pattern designs within the textiles used. This drawing demonstrates her approach to forming a motif towards print production.
Jo Brocklehurst, Broken Dolls, Date unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Jo Brocklehurst, Untitled (Red Queen from Brocklehurst Through the Looking-Glass) , 2000s
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Miss Jacky Worp, 1978
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1429, 'Mary Plain Goes to America: Part 4 - Hollywood's Newest Star'. It aired on 16 November 1972.
Jo Brocklehurst, Cook (from Brocklehurst Through the Looking-Glass), 2003
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Ruber Angel (portrait of Isabelle Bricknall), 1994
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1990s, Brocklehurst began drawing the fashion designers and performers finding space for experimentation in the fetish clubs of Soho and King’s Cross. This portrait is of Brocklehurst’s regular collaborator Isabelle Bricknall, whose collection of steel ‘body armour’ (constructed by Anthony Gregory) was designed as ‘protection’ for nights on the fetish scene.
Content warning: strong language
Misha learns English, 1942
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.