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IN, ART. SEX & DISCO

A DIRGIA AND MAURICIO PADILM
~~,
Antonio Lopez

Fashion, Art, Sex & Disco

Roger Padilha and Mauricio Padilha

Foreword by André Leon Talley

Epilogue by Anna Sui

Fashion provocateur Antonio Lopez—the illustrator

and photographer who simply signed his work

“Antonio”—was one of the most important figures in

the international fashion scene during the ’60s, ’70s,

and ’8os. His life and work captured the hedonistic

energy of the disco era and Antonio was as famous

for his entourage (which included Grace Jones, Andy

Warhol, Karl Lagerfeld, Yves Saint Laurent, and Jerry

Hall) as he was for his revolutionary illustrations which

appeared in Vogue, Women’s Wear Daily, the New York

Times, Harper’s Bazaar, and countless other

publications. Beyond the world of fashion, Antonio’s

art was groundbreaking for dismissing conventional

notions of beauty, ethnicity, and sexuality. His work

not only influenced other illustrators but also fashion

designers, artists, stylists, art directors, and hair and

make-up artists—thus truly defining this pivotal era

of art and culture.

Lopez produced an incredible number of illustrations,

photographs, and illustrated journals. This book

showcases his most iconic works, as well as

never-before-seen Instamatics, diaries, and drawings,

to convey his enduring influence on fashion today.

Antonio Lopez (1943-1987) was born in Puerto Rico

and moved to New York City as a child. He attended

the Fashion Institute of Technology where he met his

partner Juan Ramos. With Ramos as creative director,

Antonio gained international renown for his

groundbreaking illustrations and photographs, and

together, they became the team behind the work
credited to “Antonio.” Antonio’s work appeared

frequently in high fashion magazines throughout the

1960s, ’70s, and ’80s, and has been exhibited in galleries

and museums around the world.
 Digitized by the Internet Archive
in 2021 with funding from
Kahle/Austin Foundation

https://archive.org/details/antoniolopezfashOO000padi
ANTONIO LOPEZ
FAN SIAIIOUN, AIR, SIEX< & iDiSsice
ROGER PADILHA AND MAURICIO PADILHA
lei aise anaen weird nenennancarnrebandces

“4
 This book
is dedicated to
everyone who comes to New York City
to follow their dreams.

Thank you to our parents,

Roberto and Neuza Padilha,
for encouraging us to do the same.

Previous pages: Vanity no. 4, 1982

Opposite: Antonio and Jerry Hall photographed by Norman Parkinson for British Vogue, 1975
Following pages: Missoni campaign, 1985
 Foreword, page 8

Introduction: Flight to Fame, page 10

iC@s
Youthquake, page 12
The Underground, page 58
The Peacock, page 94

Foes
La Vie en Rose, page 110
Les Girls, page 160
When Fashion Got Kinky, page 198

‘B0S
Antonio's New York, page 236
Fashion Out of Bounds, page 254
Fame, page 270

Selected Diaries, page 286

Epilogue, page 300

Acknowledgments, page 302

Sources and Credits, page 302
Author Bios, page 303
FOREWORD
By André Leon Talley
Andy Warhol introduced me to Antonio Lopez in the spring
of 1975. |was a fashion editor for Interview magazine and
had been assigned to work on layouts of Lopez’s black-and-
white drawings for the special “Paris” issue, of which he and
his partner, Juan Ramos, were guest editors. By the time the
issue was published, we had become close friends. And we
remained so—I remember Juan taking his soul mate’s ashes in
a backpack to Puerto Rico to scatter in the sea.
My collaboration with Antonio at Interview was the
instigator to many great moments with Anna Piaggi, who
edited Vanity magazine. (Her unique issues are now rare
collector’s items.) It was a world of style and fashion that
made my first decade as an editor in New York one of the
most remarkable periods of my career.
I spent many Sunday afternoons with Antonio,
witnessing his marathon drawing sessions in the Chelsea
studio of the late Charles James, one of the exceptional
couture giants of the history of modern fashion. I would
arrive after church services, taking a taxi from Harlem, and
find him and Juan working at full velocity. James, in the
middle of a hot August Sunday, might receive one in his
pristine, white Jockey briefs and a matching sleeveless,
ribbed undershirt, his boot-polish-lacquered and dyed hair
in place, with touch-ups of liquid polish being applied as the
work progressed. Bill Cunningham, a master in his own world
of fashion history and journalism, spoke of these sessions
in Elizabeth Ann Coleman’s definitive biography of Charles
James, where a young editor like I was at the time could learn
so much about the history of fashion. James was a verbal
acrobat and could zing off the history of French couture,
American commercialism, and Seventh Avenue, as well as
Opposite: Paloma Picasso, Vanity No.10, 1984
create his own reinvented narrative of what he thought
his legacy as a master of construction should be. I was privi-
leged to witness those moments when a male model might
be asked to pose wearing one of James’s high-waisted skirts,
or stand in as a fitting model for a skirt he was making in his
signature figure-eight construction. In Coleman’s book,
Cunningham recounts one of those late-night drawing ses-
sions, during which James became frustrated by the way the
female model’s hips and buttocks were filling out a slim 1929
gown. Antonio slipped out of the studio, saying that he was
going for coffee, and returned with a thin young man, who
fit the gown perfectly. “Antonio’s eyes seemed to eat up the
sculptured shapes with which Charles presented him,”
Cunningham recalled. “You could almost see the stimu-
lation he took in through his eyes and transferred out
through his long fingers with a flow of a beautiful line. This
was the mystical process of great talent in communication
before our very eyes.”
Antonio’s lines and his sensuous, elegant colors
remind me of the great virtuoso John Singer Sargent’s water-
colors or studies. They also have the romanticism and
exuberance of Joaquin Sorolla, the Spanish painter anda
friend of Sargent.
When I was assigned to be the New York fashion
correspondant for Piaggi’s Vanity with Antonio, I would do
special projects in his studio, which was directly across
from Warhol’s Factory at 860 Broadway. As with the James
sessions, Lopez would start work in the early afternoon,
often preparing to exercise his skills a long way past mid-
night. Music was part of the scene, and Juan worked like
Brodovitch, at his own table, mixing the colors and
 suggesting ideas to the artist.
Antonio was quiet when he worked,
but he also loved to dress up, go
out, and dance and create his own
persona through personal style. He
influenced men and women in his
way of wearing a fedora, by his mix
of sartorial restraint with exuberant
patterns and color.
My most memorable as-
signment was the Vanity cover and
fashion story on Paloma Picasso.
We were a close, tight-knit group
of friends. I carried Paloma’s Yves
Saint Laurent couture wardrobe
into the studio and we worked for
two days, with Paloma wearing a fez
she had discovered in the basement
of Madame Héléne Arpels, a shoe
emporium, when she went to buy a
pair of above-the-knee silver lamé
stocking boots.
These were moments when |
not only honed my skills as a fashion
editor but was encouraged by Antonio to tap into my inner discovery of his wonder, his wit, and his urbane sense of
universe of dandy, as when he asked me to wrap a mauve capturing the zeitgeist through his art. It is a fitting testament
cashmere scarf as a turban and wear exaggerated gloves fora to the career of an extraordinary man.
drawing where Juan and I stood in as the male models.
Antonio was wild, yet disciplined. He created a world
of beautiful, modern rococo extravagance through line, form,
and color. This book will inspire future generations in the
FLIGHT TO FAME
By Roger Padilha
On October 14, 1994, the world’s top fashion celebrities
poured into the Musée de la Mode et du Textile, the fashion
museum at the Louvre in Paris. The occasion was a Star-
studded opening of an exhibition titled Antonio: Images
de mode, curated by Juan Ramos, Joélle Chariau, Katell le
Bourhis, and Pamela Golbin and sponsored by Paloma
Picasso. Crowds gathered in the streets to catch a glimpse of
Anna Wintour, André Leon Talley, Bill Cunningham, Isabella
Rossellini, Linda Evangelista, Loulou and Maxime de la
Falaise, Betty Catroux, Thadée Klossowski, and Jean-Paul
Goude enter the museum in their chicest attire while design-
ers such as Karl Lagerfeld, Thierry Mugler, Oscar de la Renta,
John Galliano, Azzedine Alaia, and Claude Montana put aside
their rivalries for a night to pay homage to the one man
capable of assembling such a fashionable mélange.
That man was Antonio Lopez. Known as the world’s
foremost fashion illustrator, Antonio (who had died seven
years earlier, in 1987) had always wanted to be taken serious-
ly as a fine artist. He would have loved the exhibition, which
featured three decades of his commercial and personal
works hanging at this famed venue. Golbin, one of the cura-
tors, remembers: “All of the fashion industry went mad over
the show. The opening was quite poignant, as the exhibition
not only showcased the past but also the incredible crea-
tive spirit that was Antonio. He was able to bring the fashion
worlds of New York and Paris—which did not mix at that
point—together and it was an incredible achievement.”
“Antonio” was the name artfully scrawled at the bottom
of the dynamic work that defined the international fash-
ion industry from the 1960s through the early ’80s. But the
creative spirit Golbin referred to was, in reality, an intense
collaboration between Antonio Lopez, an enormously gifted
and proficient illustrator who could capture every nuance a
model presented him with unearthly ease, and Juan Ramos,
the ingenious man behind the scenes who handled the art
direction, invented scenarios, and provided the focus Lopez
needed. Together, they made the name “Antonio” the
Opposite: Harper's Bazaar, 1963
leading force behind the fashion industry, a force that did
not simply capture the style of the times through illustration
but also invented and inspired the attitude of fashion for
three decades.
Antonio Lopez was born in Utuado, Puerto Rico, in
1943. His childhood is a tale of an unlikely child prodigy,
whose interests and masterful talents were as diverse then
as they would be later in his formidable adult career. His
mother, a dressmaker named Maria Luisa Lopez, recalls a
two-year-old Antonio designing a dress for her—the first of
many. His father, a store mannequin sculptor, also encour-
aged Antonio’s interests in the fashion arts, allowing him to
assist him in sculpting and makeup application. Fashion—in
the form of job opportunities for Antonio’s parents—allowed
the family to leave the poverty-stricken Utuado, first to go to
San Juan when Antonio was eight years old and then to New
York’s Spanish Harlem.
Antonio attended P.S. 77 on East 104th Street and
tried to make the best of his neighborhood’s grim ghetto
scene he once likened to the movie West Side Story. Adapting
to this new world, Antonio was as likely to be seen tap-
dancing on the TV kiddie show Flight to Fame and winning
awards in school as he was fighting in the mean streets of
Spanish Harlem, as appointed war counselor of the street
gang the Comanches.
Antonio’s artistic prowess in design garnered him a
scholarship to Traphagen School of Fashion, which offered
Saturday programs for talented young designers. By the end of
junior high, Antonio had decided that his path lay in fashion
and enrolled in the High School of Art and Design. Fashion
illustration seemed a logical career choice as it encompassed
Antonio’s interest in fashion and his already advanced drawing
skills. Antonio continued his studies at the Fashion Institute
of Technology (FIT), where he met his partner in crime,
Juan Ramos.
Juan Eugene Ramos was born in Caguas, Puerto Rico,
in 1942. He immigrated to the United States at the age of six
 with his mother, and his flair for style eventually led him to They both discussed the ideas of what the drawings should
enroll at FIT, where he majored in interior design. Ramos was be about. Juan did lots of research; he bought art books on
by all accounts a stunningly beautiful young man with impec- whatever ‘subject’ they were thinking of doing. It was always
cable taste, a sharp contrast to Antonio who suffered from a complex study, never an accident. It was a combined idea
acne and was incredibly insecure about his looks. Succumb- of Juan’s thinking, Antonio concurring, and a goal of the
ing to a mutual attraction drawing it.”
based on their total devotion Antonio was recog-
to creation and beauty, the nized as a star student at
two instantly became a team FIT, stunning both teachers
and a couple, and while the and students with his gen-
sexual relationship didn’t ius work. Success seemed
endure, a more important predetermined even though
bond formed that survived Antonio was about to enter
for almost twenty-five years. an artistic field that had been
Juan was a consummate art faltering. Fashion illustration
director with an eagle eye for is an art form that has been
spotting trends, and he pos- around for centuries—as long
sessed a breadth of knowl- as there has been clothing,
edge of artists and artistic there has been a need to
movements as well as a deep artistically document its
understanding of the cultural wavering trends. However,
and social movements of the starting in the late 1930s,
day. Juan’s talents helped photography began to
push Antonio’s already ex-
eclipse fashion illustration.
emplary fashion illustrations
As fashion historian Laird
into a whole other realm. The Borrelli stated in her book
perfect yin to Antonio’s yang.
Fashion Illustration Now, “The
Susan Baraz, a fellow
first photographic cover of
fashion illustration student at
Vogue was a watershed in the
FIT, befriended Antonio and Juan. She was one of Antonio’s history of fashion illustration and a watershed mark of its
first models, and became entrenched in their lives—a decline.” Fashion illustration, once the primary source of edi-
behavior that would become a pattern time and time again torial fashion information, had taken a backseat to photog-
between creator and model/muse. In the beginning, “each raphy, and by the time Antonio arrived on the scene, it had
was the missing part of the other,” she remembers. “Their already been relegated to trade publications and newspaper
relationship was clearly defined—Antonio was the illustrator: advertisements.
it was his work that was in demand, and he was the one, and Antonio would single-handedly change this.
only he, who drew all the work. Juan was the person that, for
the most part, decided if what was drawn looked good and
worked well with the concept that was trying to be created.
11
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 1960S

YOUTHQUAKE
Antonio left the Fashion Institute of Technology before
graduating to take a job as an illustrator at John Fairchild’s
Women’s Wear Daily (WWD), the fashion-industry trade
journal. Although his masterful grasp of the art of illustration
immediately landed him a job, he was yet to make any bold
statements with his work. At the start of the 1960s, fashion
&(
was still a continuation of the look that defined the 1950s:

a*_©@
Christian Dior’s “New Look” silhouette from 1947, with its
full skirt, corseted waist, stilettos, gloves, and set hair, still
dominated. Antonio’s early work, although experimental in
its loose, sketchy technique, still mirrored the established
ladylike aesthetic of the time. His illustrations exhibit the
most conventional poses, most often because they needed to
fit the specific space the advertiser had been given in a pub-

> @ 2® @ ®,°a
lication: the model elongating her neck, jutting forward her
hips, and forming a T shape with pointed feet. Antonio’s girls
ie: SS Be =_ 2 = of the early 1960s appear aloof, chic, white, and completely
aie <-> aie Pees QEp ee _ =
oad = SS TS wD Sm —_ > D> bored with fashion (probably much like Antonio himself).
e
<> t
ae igo uate eet
Ce Ea
As beautiful as they are, these works do not say much more
than what the surface of fashion does, and they certainly do

ce'o 2 2. ¢
not indicate that Antonio would someday wield considerable
~ ee influence over the fashion industry.

» Ss. a eo @ @ € “Fashions of the Times,” 1967

Above: (Pas shions of the Times,” 1966

OS qo2c o = S =
fed) a "4966

14
 Antonio quickly rose up the ranks at WWD. Senior
illustrators who had worked their way up the ladder for years
to land a coveted cover illustration were outraged when
Antonio was granted his first cover just a few months into
the job. Soon Antonio was WWD’s most popular artist. The
legendary New York Times fashion editor Carrie Donovan
took notice and offered Antonio freelance work. For most
illustrators, being published in the New York Times would
be considered the pinnacle of their career but the prospect
terrified Antonio. Well aware of Fairchild’s possessiveness
and long-standing grudges against Givenchy and Balenciaga,
Antonio feared losing his steady work and paycheck. Juan

19
US¢ of Op At t in his work for Fashions of the Times, “early 1960s

16
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17
Opposite: Maxime de la Falaise, 1967 Above: “Fashions of the Times,” 1967
19
onio and his first muse, Susan Baraz, NYC, 1967 Bottom: Susan Baraz, NYC, 1967
Susan Baraz, Fashions of the Times,” 1965
20
These pages: Mademoiselle, 1965

2p
WH|
yey
suagtaee putt
Hite eg
Below: Fashions of the Times,” early 1960s
Right: Antonio and muse Cathee Dahmen, NYC, 1964. Antonio's
styling of Dahmen’s curly mane inspired a huge hair trend in
the mid 1960s
Opposite: Antonio and Cathee Dahmen, NYC, 1964

Ramos, who was designing hats for Lilly Daché and decorat-
ing store windows, along with FIT classmate Susan Baraz,
who was working as a full-time fashion illustrator, urged him
to take the irresistible offer. Both pledged to quit their own
jobs to work full time with Antonio, as art director and model
respectively. When Antonio’s first illustration for the New
York Times was published, Fairchild fired Antonio. He never
forgave Antonio for working with a rival, refusing to cover
him for the better part of the next twenty-five years.
It turns out that Juan and Baraz’s support of Anto-
nio’s decision to freelance for the Times was prophetic. It was
there that Antonio’s career started to flourish, both artisti-
cally and financially. By the age of twenty-two, Antonio was
getting over $1,000 an illustration, an extraordinary amount
at the time. Antonio and Juan, at this point involved in a seri-
ous romantic relationship in addition to their professional
partnership, moved into a triplex on West 13th Street in the
West Village and filled it with a collection of Tiffany lamps,
and Belter and Majorelle furniture. Freelancing for the Times
not only allowed Antonio to work with Bonwit Teller, Henri
Bendel, and other fashion brands, it also allowed Antonio to
experiment with subject matter that wasn’t about fashion,

24
N©
Left Susan Baraz,
LLco) Ty fe= je 7) io) ue = weo = co) s = oO<O~O
Opposite Susan Baraz
Fashions of the Times, “1966

Af
Lass ie) Sake

& NEGi a
nee% Sh wiseatitireashs SR

oe + mS Ry

ee pn
Opposite: French Elle, 1965
Clockwise from the left: Susan Baraz,
“Fashions of the Times, "1965: French
Elle, 1965; Antonio at the Beekman Hotel
(where Antonio and Juan resided and
worked while the Carnegie Hall studio
was under construction], NYC, 1964

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Opposite and above: McCall's
mid-1960s. Antonio's images
featuring women doing everyday
things were groundbreaking.
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31
32
Opposite and below: Susan Baraz, “Fashions of the Times, “1966
Right: Susan Baraz, “Fashions of the Times,” 1960s
 |

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Pi

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40
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Above: Susan Baraz, French Elle cover, 1967 Opposite: Under-sketch of Susan Baraz for French Elle cover, 1967

34
|
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35
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These pages: French Elle, 1949

37
rs eee le
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3,

jaa)i= a) es = S 3 ic8)1965
such as theater openings and celebrity interviews. These as-
signments trained Antonio to think and work as a journalist,
capturing more unique personalities behind the worlds of
society and the arts. These experiences were soon reflected
in his fashion work, which began to depict more intimate,
unposed moments, taking on a reportage feel.
The experience at the Times helped Antonio rethink
the possibilities of fashion illustration. Inspired by Baraz and
new discovery Cathee Dahmen (an American Indian beauty
whose exotic looks lent a modern edge to his work), the
“Antonio Girl” started to dance across the page. No longer
confined to stagnant poses, she was moving, stretching,
jumping, and, for the first time, was living in fashion rather
than living for it. Antonio started putting backgrounds into
his illustrations—a radical move when most illustrations typi-
cally showed only the figure—and was able to draw inani-
mate objects and animals with the same ease as the human
body. This allowed his work to explore what real women do,
and suddenly the women in his drawings were catching cabs,
lounging on the beach, and hanging out at cafés. The actual
clothing in the sketches became secondary, and art directors
and editors realized that Antonio was selling more a lifestyle
and attitude than just an article of clothing. This new inde-
pendence in his work anticipated the attitudes that were just
beginning to percolate among designers, artists, and the new
generation of fashionable women.
Although viewed as a commercial graphic artist,
Antonio brought social consciousness, the changing attitudes
of women, and a new definition of what the decade would
become to the pages of fashion magazines and newspaper
advertising. Suddenly, fashion illustrators and photographers
everywhere were mirroring this new Antonio style. (Photog-
rapher and friend Bill Cunningham recalls Antonio visiting
the set of a photo shoot and finding a note to a photographer
from Vogue editor in chief Diana Vreeland with a clipping of
Antonio’s work, instructing the photographer to imitate it.)
Not even halfway in, the sixties were starting to explode.
Antonio’s newfound freedom of style opened up
endless possibilities for him, and the scenarios in his work
became not just confined to real life. With input from Juan,
who was well educated in art and culture, Antonio started

These pages: British Vogue, 1965

40
These pages: Antonio's Fernand Léger-inspired illustrations of
Susan Baraz for “Fashions of the Times,” 1963

42
 ) i

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79
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anmamaem
o

43
rn, 8
These pages: Antonio's Fernand Léger-inspired ill ustratio
ns of Susan Baraz for “Fashions of the Times, 1963
45
These pages Fashions
of the Times,
mid 1 960s

46
 iting a fantasy world into his drawings that mirrored
y movement called Pop Art. They began to take ona
more graphic style, with stripes moving off the clothing and
becoming geometric backdrops for the models. Other times,
Antonio used comic-book style press type to form Op Art
illusions—predating the same use of imagery by designers in
Mod 60s fashion. Antonio began alternating between real-
istic renderings of women and more conceptual depictions,
some figures becoming extraterrestrial-like with impossibly
long necks or Cubist-inspired renderings in the style of Fern-
and Léger. Sometimes Antonio would draw around portions
of Juan’s photographs of Baraz and Dahmen; in other draw-
ings, figures are mirrored and abstracted to create a kalei-
doscope of images. Antonio became the Picasso of fashion
illustration, expertly experimenting with so many different

styles that it seems as if his work had been done by a team

of a dozen illustrators instead of just one. Moreover, he was
single-handedly reviving an art that was thought to be a relic
of the past with his boundless imagination.
In 1963, Antonio and Juan moved into an even larger
studio at the residences at Carnegie Hall, a haven for art-
ists, dancers, musicians, and photographers such as Bill
Cunningham and Editta Sherman. Although Antonio was no
doubt inspired by his avant-garde neighbors, the real draw
to Carnegie Hall was its proximity to Central Park, which
was the center of the youth-culture movement in Manhattan
throughout the ’60s, and the outdoor home for gatherings
of beatniks, hippies, and counterculture groups. Antonio
and Juan observed the unbridled freedom and styles of this
bohemian generation, particularly those that gathered
around Bethesda Fountain on Sundays dressed in their
wildest clothes, and quickly translated these ideas into their
work, placing them on the cusp of the revolution about to
hit fashion. Antonio and Juan understood that the future

Left: Juan and model Donna Mitchell, 1965

Above: Portrait, 1940s
Opposite: Juan and model Donna Mitchell, 1965

48
of fashion lay in the hands of this rising breed and spoke to
them directly through the visual inspiration of their work.
Not content just to draw the clothing given for
assignments (or rather, feeling that fashion was not moving
as fast as they would like), Antonio and Juan started
designing jewelry for Napier and clothing for Splendiferous
to mirror the new youth attitude in their work. The oversized
geometric jewelry that they designed garnered much press
and was pictured on Barbra Streisand in “Fashions of the
Times,” the New York Times fashion supplement, as well as
featured on Veruschka in various shoots by Richard Avedon.
Their designs seemed outlandish at first, but by 1964,
designers such as André Courreges, Mary Quant, and Rudi
Gernreich were popularizing radically different clothes,
with angular minidresses, space-age color schemes, and
geometric prints. Fashion had completely changed direction
and suddenly the youthful abandon seen in Antonio’s work
the previous year hit the mainstream.
“The drawings of Antonio Lopez and his associate,
Juan Ramos, were the work of pioneers caught up in the
throes of the period’s rebellion,” said Bill Cunningham. “The
old hierarchy of fashion was clearly collapsing, and the youth
culture that would bloom in the guise of hippies and flower
children would cause one of the profound fashion changes of
the twentieth century. Antonio’s drawings were responding
directly to this awakening of youth and a generation with its
own story to tell
29

These pages: Fashions of the Times,” 1965

50
These pages: Fashions of the Times,”
mid-1960s

92
53
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Opposite: Beauty head, 1963

Above: Antonio's foray into accessory design proved him to be a capable
designer. Sketches, 19463
55
Opposite: Beauty head, 1943
Above: Detail of contact sheet of Antonio
with Veruschka a t a Vogue shoot, 1943
57
1960S
THE UNDERGROUND
Fashion had a memorable impact on the 1960s, but it is the
civil rights movement that most characterizes this decade
of change. The feelings of unrest among their generation
spoke directly to Antonio and Juan, so much so that those
feelings would become catalysts behind some of their work.
On March 7, 1965, a march in support of voting rights for
ican Americans started out from Selma, Alabama, to try
to reach the state capital in Montgomery, but culminated
with state troopers brutally attacking the civil rights demon-
strators. Always the provocateur, Antonio produced a
series of illustrations over photographic images of this
race riot for French Elle. The illustrations were published,
although stripped of the backdrops the editors deemed
too contentious.
58
OO OO ARANARRAN. EEO
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LALA ROARS Ne AINE iii Anica. :
4

eNO RE AE

“Fashions of the Times,” 1967

Antonio’s psychedelic-inspired illustrations fared “Peace,” and “Imagine.” Psychedelic art, a style informed
a bit better, and were published unaltered in the New York
by the use of psychedelic drugs, inspired the illustrations.
Times “Fashions of the Times” on Aug 27, 1967, the same
issue Once again, Antonio was responding to the beat of the
that featured its first African American model, Naomi
Sims, streets and bringing it to the fashion world first—before.
on the cover. These dynamic renderings feature models
in for instance, the famous psychedelic portraits of the Beatles
supersaturated colors against swirling, surreal backdrops
by Richard Avedon that were published in Look magazine
with hippie iconography and catchwords such as “Love,”
the following year.
59
 In fact, Antonio was ex-
ploring various styles that were,
until this point, interdicted in
the world of fashion illustration.
He was interested in knocking
over rules of social convention
with ideas that would grip the
fashion industry and reflect
the underground of New York
that stimulated him. He looked
&
Ay outside the fashion bubble and
we found nourishment in the nas-

be a ee M2
cent bohemian utopia he saw
on thestreets of New York.
It was on a Sunday at
Gea ) Bethesda Fountain in the mid-
Re
1960s that Antonio first spotted
the fifteen-year-old Jane Forth.
My The diminutive Forth possessed
a unique style that personified
y 7 the new street culture of the
~~ “iS 60s (she worked part-time at
Paraphernalia, the trendsetting
boutique that featured design-
ers such as Betsey Johnson and
Mary Quant), but what was
most striking was her face, a
blank ivory canvas reminiscent

These pages: Illustrations inspired by psychedelic art

for “Fashions of
the Times,” 1967

61
62
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igs,
py SSS =
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of Italian Renaissance royals, with a high forehead, widely
spaced eyes, and tightly pursed cherub lips offset by a promi-
nent jaw. The dichotomy of such a classic face offset by her
wild, vintage clothes mesmerized Antonio. Forth remembers
the moment he approached her:

“The night before, I had braided my hair into a

hundred baby braids, which took me hours, and I
brushed it out in the morning. It was huge and had all
these little ripples. I wore wide white linen pants with
really high green and red platform shoes. Antonio
was dressed all in one color from head to toe, boots
to hat, like a British dandy. He looked remarkable
but I didn’t know anything about him. He asked me
to model for him and his studio was right around the
corner from school so I thought I could go afterwards
and earn some money.”

Forth was a patient model, highly spontaneous and adaptable

to the many disparate jobs Antonio had lined up on a daily
basis. Antonio launched Forth’s career, and soon she was

Previous pages: Psychedelic illustrations starring Cathee Dahmen

for Fashions of the Times,” 1967
These pages: Psychedelic illustrations for “Fashions of the Times,” 1967
65
 ‘

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This page: Portraits of Jane Forth, 1969

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Opposite: Study, 1964 Above: Jane Forth and Antonio at the Carnegie Hall studio, NYC, 1968
69
3
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These pages: Jane Forth , Cathee Dahmen, Corey Tippin, and Antonio, NYC, 1967

70
These pages: Jane Forth, Corey Tippin, and Antonio on the Staten Island remy, NYC, 1970

75
ations of Jane Forth, NYC, 1948
S ad *
ere
<P
Opposite: Jane Forth, 1968
This page: both illustrations,
Soen, Japan, 1968
79
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Opposite: Portrait of socialite and designer Larissa, 1965

This page, top row and left: Fantasy drawings, Japan, 1965
Above: Studies, 1964

81
 1 am
by bursts of deep breaths. Cunningham recounts: “I fully real-
ized the intensity and torture Lopez inflicted on himself as he
struggled to capture the essence of each design: his eyes, like
magnets, extracting the spirit from the dress, his mouth and
tongue rolled in an attempt to devour the design. You could
almost see the creative force charging through his body, then
flowing out through his hands.” Model Pat Cleveland adds:
“He'd sit there in this rolling chair with no back and
straddle it like a horse with his pad on his lap. He’d
start by waving his pencil in the air like a conductor,
and he’d hold his face down and look at you like a
panther, like he was going to eat you. Then he’d make
a sucking sound with his mouth, like he’d take ina
breath but it felt like he was taking in your essence.
And then he’d wave his pencil across the page with-
These page W : Illustrations from French magazine 20 Ans starring Donna Jordan, 1970
out ever looking at it and capture you in seconds.
Antonio danced his way through the drawings, but
Juan took care of everything else. He would pick the
drawings off the floor and categorize them. He was
really down-to-earth while Antonio was just flying
all over the place. It was like Antonio was doing the
weaving and Juan was the one spinning it into gold.”
It was in these controlled, intimate settings that Antonio and
Juan would work, and these conditions spawned the close
relationships they would have with their models. Later in
his career, Antonio could work with a slew of assistants as
dozens of editors, stylists, designers, and potential models
traipsed through the studios, but at this time a certain bond
and concentration was required by him to produce their
abundant output.
82
 Inspired by the rising fame life scene, dancing and scouting
of Andy Warhol, a commercial models to sketch. Nightlife fueled
illustrator who had made a transi- his work and one can see from the
tion to a fine art career that made psychedelic backdrops and mod-
him into one of the most recog- els dancing in his drawings that it
nized artists of the time, Antonio was an integral part of his art. “It
became increasingly social and was not a ‘work first, party later’
active in the New York scene. In period,” Baraz explains. “It was a
the early to mid-1960s, Warhol ‘work at last’ attitude, with the bulk
was as famous for his lifestyle of the work done very late at night
and entourage—a group of usually after dancing at Max’s or
artists, actors, drag queens, and the Electric Circus.”
socialites who generated press Like Warhol, Antonio started
and attention—as he was for his to build his own entourage, one
work. Antonio, who had previ- that would bridge the gap between
ously cocooned himself with Juan, the New York underground and
Baraz, Forth, and Dahmen in his the world of high fashion. Corey
studio and dedicated himself to Tippin, an art student and “it”
work, understood that the real personality of the New York night-
fashion of the 60s lay beyond the garment center. He started _ club scene recalls: “There were two distinct groups going on
spending every night at Max’s Kansas City, a restaurant and at that time in New York. There was Andy Warhol and the
nightclub populated by the denizens of the New York night- Factory crew and then there was the Halston fashion group,

These pages: Donna Jordan, French Vogue, 1970

85
PHS
LRN

apt.
nS

86
These pages: llustrations from a lingerie editorial, 20 Ans, 1974

oi
 everyone eventually grew to love and
ch to Antonio’s dismay.” His stupendous rate
would only be outdone by his remarkable
xploits, particularly after Juan became
involved with Paul Caranicas, a handsome young artist. And
even though Antonio was insecure about his looks, he would
compete with Johnson and Tippin when they got jobs mod-
eling for other photographers by offering himself up as a
model in photo shoots—just to stay a step ahead of his circle.

Below (clockwise from bottom): Antonio, Kathleen, Dick Balarian,

Ingeborg Marcus, Cathee Dahmen, Sergio Arena, Charles James, and
Juan In the Carnegie Hall studio, NYC, 1966

Right: Antonio, Cathee Dahmen, and Jane Forth in the Carnegie Hall
studio, NYC, 1969

92
 ee SSS

Seip
RASS

93
tri= Ey \eS@
Gin
Men have long been treated as accessories to women’s fash- rial work. Men’s fashion, with the few exceptions of clothes
ion. Perhaps this was fashion’s way of getting back at men for — worn by performers such as Elvis Presley and James Dean, was
their lack of interest, by simply ignoring them or regulating generally based on the conformist uniform of the traditional
their rare appearance in fashion magazines to props that hold gray flannel suit. Basically, men’s fashion was “square.”
doors open or umbrellas over the female stars, as in René The youth culture movement, particularly in London,
Gruau’s 1950s illustrations or in Richard Avedon’s early edito- changed all that. Often referred to as the Peacock Revolution,

94

men started demanding a place for themselves in the fashion
world, and designers responded with an emergence of bright-
ly colored suits, psychedelic printed shirts, boldly printed
flares, and snug-fitting Nehru jackets. The popularity of the
Beatles and the Rolling Stones were also key, their influence
solidifying a trend toward longer hair.
95
Antonio photographed by Juan Ramos
This newfound interest in menswear greatly impacted
Antonio’s artwork. Men found a place front and center in
Antonio’s drawings and were treated as equals to their female
counterparts—a shift that would continue in Antonio’s work
for the rest of his career. Assignments from men’s magazines
such as Gentleman’s Quarterly came pouring in.
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georgette scarf is ever so much newer.” In reality, Baraz
recalls that “Antonio was most comfortable in a white T-
shirt, jeans, and moccasins, and Juan was the trendsetter. I
think it was a part of Juan’s creativity.” Though described as
self-effacing by those who knew him well, Juan was the one
who loved dressing up and needed to own the best and
newest in outlandish fashions, while Antonio, perhaps
recognizing a brilliant branding strategy, went along with it.
Both he and Juan spent their earnings as fast as they came in
on the best bespoke suits, shirts, and shoes. And it was not
limited to clothing—money was spent on trips to Europe, the
best hotels and spas, an imported Italian tile renovation of
their Carnegie Hall studio, and paying the bills at the most
expensive restaurants for their ever-expanding entourage.

Top left: French Vogue, 1970

Rest of these pages: L Uomo Vogue, 1970

100
fom
attain
 i
‘i
:§

Previous pages: Antonio, Cathee Dahmen, and Jane

Forth at an automat, NYC, 1968
Top: Juan grooming, Paris, 1972
Right: Juan and Ingeborg Marcus study, 1964
Opposite: Antonio and Nancy North at Café Bonaparte
in Paris, 1972

105
Top left: Antonio's colorful and space-inspired attire mirrored his menswear
illustrations, St. Tropez, 1971

Top right: Soen, Japan, 1968

Below: Antonio at the Jardin du Luxembourg, Paris, 1971
Opposite: Soen, Japan, 1968
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This extravagant lifestyle turned out to be a shrewd publicity

move, as it solidified Antonio as a bona fide fashion star—an t
illustrator whose face and image became known beyond his
work, a rare feat in those days when illustrators were typi-
cally faceless artists slaving away in the offices of newspaper
and fashion magazines. Juan’s highly effective construction
of an image for Antonio left an indelible mark on the fashion
world, and suddenly both their personal images were peer-
ing back at them from the society columns of every fashion
magazine. This exposure was further proof of Antonio’s bur-
geoning role as a style arbiter ne plus ultra, and soon assign-
ments from Europe came rolling in.

Opposite: Corey Tippin in Maison De Bonneterie campaign, Amsterdam, 1973

This page, top: Corey Tippin and Jacques de Bascher, 1973
Above: Corey Tippin and Antonio at Café de Flore 1971
109
1970S

LA VIE EN
Rese
In the late 1960s, French Elle invited
Antonio to sketch the collections in Paris.
He and Juan fell in love with the city and
decided to remain. “Antonio and Juan felt
constrained by the old-fashioned attitudes
of the American garment industry, as well
as the women at Vogue at that time, who,
despite the magazine’s avant-garde look,
were still basically conservative and rac-
Aa
ED
EE
EEE
ist,” explains Paul Caranicas. “They were
pleased with how seriously Elle regarded
them as artists and how their work was

Artwork for Brigitte Bardot /nterview magazine

ps \A

cover, 1975
ont BEBRBESR
annem
showcased as such; they could use Puerto Rican and black
models without feeling the pressure of prejudice.”
Seems that Antonio was on to something, as by 1970
the international fashion scene had shifted back to Paris from
London’s Mod swinging sixties scene and the harder heroin-
fueled coolness of the New York underground scene. Fashion,
in the truest sense of the word, was back and once again it
was centered in the City of Light. It was a fantastic moment

&,

dd

Ki 4AOD
This page, top: Portrait from Paris, 1969
Above: Antonio's sketch of a dress by Chloé designer and close friend
Karl Lagerfeld, British Vogue, 1972
ght: Illustration from Paris Match, 1974
V2
113
7

j ha
:
\
\

Left: Eija Vehka Ajo, French Elle, 1974

Above: Antonio sketching model/actress Brigitte Ariel, Paris, 1975
Below: Eija Vehka Ajo, Juan, Jacques de Bascher,
Karl Lagerfeld, and Antonio, Paris, 1973

Opposite: Eija Vehka Ajo, French Elle, 1974

114
Si
ty
Any
Ay sate
1 OY
 AML Yb
:

GAL)
Opposite: Illustration for design house
Kenzo, starring Carol LaBrie, 1971
This page: Carol LaBrie and Antonio,
Paris, 1970

'
:
|

fa,

Wit
Opposite In Paris, Antonio found he could utilize models of color
such as Carol LaBrie without prejudice. Italian Vogue, 1971
Above Carol LaBrie and Antonio, Paris, 1970
Right: Carol LaBrie, Italian Vogue, Paris, 1971

119
and right: Photobooth images of Antonio and his Paris entourage. Left to right: Jane Forth; Juan and Jerry Hall; Juan; Juan and Jerry Hall:
1\d Donna Jordan; Antonio, Corey Tippin, and Donna Jordan; Paul Caranicas; Donna Mitchell and Antonio; Jane Forth and Corey Tippin.

120
This page, bottom right: Antonio, Jane Forth,
Donna Jordan, Paris, early 1970s

12
These pages: 20 Ans, 1973

122
 Th is page, left Antonio and Nancy North, Paris, 1972
Below Donna Jordan and Jane Forth Paris, 1972
Opposite Co llage of Antonio s pictures by Karl Lagerfeld,
signed
by Donna Jordan and Jane Forth Paris G72

ww

124
 \

MT
LOVE
My
DAR
TO

ronanbe aarti
 for Paris as the worlds of art and design seemed to refocus
on it. Warhol and Paul Morrissey were there making L’Amour,
starring Chloé’s new young designer Karl Lagerfeld, and many
tke
ce
ot
oS
UE
RIO

Ets,
Ce
ol of Antonio’s discoveries such as Jane Forth and Donna Jordan
were cast in the film. Suddenly, the worlds of Warhol and
Antonio logically intersected. Members of Antonio’s circle
like model Jay Johnson, twin brother of Andy Warhol’s boy-
friend Jed Johnson, and Tippin were also cast in the film, and
oe a

cast and crew alternated between filming scenes and working

with Antonio.
One of the collections Elle sent Antonio to sketch
was for Chloé, a label that was fundamental in establishing
ready-to-wear in Paris as being as desirable as its haute cou-
ture counterparts. The line was designed by Karl Lagerfeld,
who had trained and worked as a couturier first at Pierre
Balmain and later at Jean Patou. Lagerfeld brought the same
determined vision to ready-to-wear as he had to haute couture
and exalted the mass-production industry into one deemed
worthy of attention and respect. Lagerfeld recognized Antonio
and Juan’s immense creativity and also saw in them an associ-
ation that could enhance his position in the fashion universe.

These pages: Donna Jordan and Pat Cleveland in Chloé by

Karl Lagerfeld at Café Bonaparte, Paris, 1972
Following pages: Paula Marie, Vogue Patterns, 1974

126
 eed ee es
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 Opposite: Club Sept denizens for /nterview
Magazine, Paris Issue, 1975
This page, clockwise from top left:
Pat Cleveland and Donna Jordan, Paris 1973:
Karl Lagerfeld, Paris 1971; Jane Forth, Corey
Tippin, Donna Jordan, and Karl Lagerfeld,
Paris, 1972; Alex De Llanos, Coraly Betancourt,
and Antonio at Club Sept, the discothéque he
helped to make the epicenter of European disco,
Paris 1972; Club Sept business card, 1970s

= Restaurant le *7”
CLUB PRIVE ; i
~@ 296.25.82 7, rue Ste-Anne —
296.47.05 \ 75001 Paris

131
Th
ihese
=
pages:A 4
f n ltonio s hybrid of 1920s fashion with a 1970s attitude revolutionized the fashion industry.

132
133
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134
 Lagerfeld and Yves Saint Laurent were rivals at the
time, having competed for the spot of “grand couturier” ever
since their days as young winners of the International Wool
Secretariat fashion design competition in 1954. Saint Laurent
had attained success first, with his appointment at Dior at the
age of twenty-one, and then became even better known for
the success of his eponymous couture label. While Lagerfeld
had gained some eminence as the designer behind Chloé,
he still did not have the same majestic public image as Saint
Laurent. Saint Laurent was revered by the press, and his every
thought and action was hailed as groundbreaking by Parisian
tastemakers. Antonio’s clique of models, as well as his Warhol
association, made him very attractive to Lagerfeld. “Yves
had that haute bourgeois following and Karl didn’t have an
entourage. He got us and it made him very visible. I think it
was his way of being irreverent toward the Parisians,” says
Tippin. Model Pat Cleveland remembers: “The group was Karl
Lagerfeld, Antonio, Andy Warhol, Donna Jordan, Jane Forth,
Corey Tippin, and me. We were known as ‘the Americans,
and as we were with Andy, everyone expected us to be a little
bit wild.”
And they were. Antonio and his entourage played up
their newfound celebrity to the hilt, with an extreme look
that combined Hollywood kitsch and vampire chic, which,
although commonplace in downtown New York, scintillated

Opposite: Deanna Durbin, Vogue Patterns, 1974

Right: Donna Jordan, 1972

135
These pages: Donna Jordan, Pat Cleveland, Jay Johnson, Sergio Arena, Patti D’Arbanville, Antonio, and Karl Lagerfeld at Café de
1079
Sin Weylre

136
137
singEE,
HE
4 £5
the French. “Corey wouldn’t let us out of the house unless we
had two inches of makeup on,” Cleveland recalls.

“We looked like old movie stars from the 1920s. We

all used the same eyeliner pencil and Corey would
just dig in! It was so painful. He’d dig through all the
foundation like it was a sculpture. It was thick and
greasy and heavy and perfect. We looked like drag
queens. Kar! would give us tons of jewelry to wear.
Antonio would have up to ten bracelets on his arm,
some plastic and some gold mixed together with
diamonds. We hung out twenty-four hours a day and
had nothing to do except be out of our minds and im-
mersed in fashion.”

Lagerfeld and Antonio surely must have recognized the

power of their alliance, and Antonio began working almost
exclusively for him. Although he was hardly ever paid for the
work he did for Karl throughout the ’7os, Antonio and his
companions put their hotel costs, expensive dinners, and
wardrobes on the Lagerfeld tab.

FROM PARIS:
Z Left page: Left and right, warm brown pebble tweed
MORE OR LE
. long knjckers, Chocolate fleecy Borg sleeves,
ollar, soft slouch hat. Tweed knit sweater. By Sonia
reliel. C entre, splendid, swaggering long and large-
sleeved jacquard knit coat, cinnamon, violet, white.
Cinnamon sweater and knickers. By Daniel Hechter

Opposite: Fashion editorial, “Fashions of the Times,” 1974

This page, top: Photobooth pictures of Donna Jordan for
Bri t ish Vogue, 1973
Above: Don na Jordan, 1973
Left: Donna Jordan spread in Bri ish Vogue, 1973
140
Clockwise from top left: Pat Cleveland,
Karl Lagerfeld, and Antonio, Paris, 1970;
Nadege for Maison De Bonneterie cam-
paign, Amsterdam, 1972; Donna Jordan,
Corey Tippin, and Antonio, Paris, 1969

1970

142
 When Fabrice Emaer opened a small restaurant with
a tiny dance floor in the basement at 7, rue Saint-Anne, a gay
neighborhood near the Palais-Royal, he had no idea that it
would become what some describe as the epicenter of disco
for the European fashion scene. Antonio and Juan, while
loving the attention and how revered their work was, missed
some of the creature comforts of New York. Though they lived
in Paris for six years, they never mastered the language, and
desperately missed R&B music. Music, particularly soul mu-
sic, fueled Antonio’s work. When they discovered (or rather
invented) Club Sept, it solidified their reputation as the
darlings of the new French café society. An acquaintance of
Antonio's, a Cuban immigrant named Guy Cuevas, was work-
ing as a DJ at the Sept, and Corey recalls that they begged him
to play something they could dance to. Cuevas obliged, and
Antonio and crew found themselves at the Sept every night
dancing till dawn. “Club Sept was down and underground,”
declares Pat Cleveland. She continues:
143
“When you walked in there, you landed feet first in a
new world. Antonio used to wear these high-heeled
boots, and we used to do the tango. He would throw
me around the room and Id splat up against the wall
and knock everyone down. It was like a scene from an
old French movie. It was fiery—you know, fire and ice
and blood and glamour. It was paradise, that feeling
that you are in a group in which everyone has the
same visions about how to live, how to feel and look.”
Club Sept proved to be a highly visible stage for Antonio,
one that would solidify his glamorous mystique that proved
important in establishing him in the international fashion
capitals.
A typical day for Antonio and his models was to work
in the studio all day, the models posing while Antonio worked
on multiple projects, then to set off to Club Sept, where
Cleveland, Jordan, and a young Grace Jones were likely to
SET rm nexncmes
jump on tables and dance wildly to disco music, often re-
moving part or all of their clothes while an astounded mix of
fashion groupies and French aristocrats looked on. Thanks to
Antonio and his free-spirited companions, Club Sept became
the boite for the fashionable and elite, attracting a clientele
that included Yves Saint Laurent, Amanda Lear, Bianca and
Mick Jagger, Rudolf Nureyev, and Kenzo.
_ In fact, there was so much going on during those
early years in Paris that Antonio’s compulsive predilection to
document was intensified, and he turned to another medium
that could capture the moment in an even more accelerated
way than sketching. The Instamatic camera became Antonio
and Juan’s new weapon in their constant struggle to capture
the revolving door of beauties that made their way into their
lives, as well as the decadent escapades “the Americans”
inflicted upon the unsuspecting French. The Instamatics
provided instant gratification to the narcissistic troupe and
captured an immediacy that seemed to mirror their “live for
Previous pages: Antonio, Corey Tippin, and Donna Jordan, St. Tropez, 1970
These pages: Antonio, Corey Tippin, Karl Lagerfeld, Juan, and Donna Jordan, St. Tropez, 1970
the moment” attitude. The Instamatics, as with everything
Antonio and Juan did, found their way into the work, accent-
ing illustrative magazine layouts as well as being finished
products unto themselves. Antonio would take a series of
Instamatics, usually a group of nine, and tell a story that natu-
rally progressed from left to right, or, at other times the Ins-
tamatics would be partial images joined to form a larger one.
Antonio proved that he was as adept an artist with a camera
as he was with a sketchpad, and their photographic work
appeared in countless esteemed photography magazines.
In Paris, Donna Jordan shifted front and center among
Antonio’s muses. Jordan, a gangly, mousy, brown-haired teen,
was Jane Forth’s best friend and didn’t have any aspirations
to become a model. When Antonio discovered Forth, a few
years earlier in New York, Donna had tagged along and he had
eventually started drawing her, albeit with far less enthusi-
asm than he had had for Forth. When filming wrapped on
Warhol’s L’Amour and Forth returned to the United States,
146
147
These pages: Antonio, Corey Tippin,
Karl Lagerfeld, Pat Cleveland, and
Donna Jordan, St. Tropez, 1970

148
149
This page, top left: Paloma Picasso Paris 1974
This page, middle left: Corey Tippin and Pat Cleveland, Berlin 1971
This page, bottom left: Loulou de la Falaise, Paris 1975
This page, bottom right: Jacques de Bascher, Amina Warsuma,
Karl Lagerfeld, Eija Vehka Ajo, Antonio, and Susi Wyss epitomized
the glittering café society culture in Paris, 1973
Below: Marisa Berenson, Milan 1973

Opposite: Coraly Betancourt and Corey Tippin on Depeche Mode

cover, 1973

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aeilo

150
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 Jordan stayed behind and Antonio
and Corey Tippin set out to revamp
her look. “Antonio had his eye on
Donna and we transformed her,”
says Tippin. “We decided to make
her blonde—really white platinum.
We shaved off her eyebrows com-
pletely and I would do her makeup
extremely shiny, like a Vaseline- lal
coated face with superdark eyes,
tons of lashes, and cheekbones highlighted with a bone-color-
ed gleamer, and a strange application of blush way above the
brow and just along the cheekbone. Antonio would exag-
gerate her even more in his drawings, and then I'd make her
look like the drawings. Then he’d draw her to look even more
extreme.” Jordan’s new eyebrowless, bottle-bleached look
transformed her into a ’70s-era Marilyn Monroe, which would
be revisited some twenty years later by Madonna.
Jordan’s makeover catapulted her into the realm
of the most sought-after models in Europe, landing her
the covers of both Italian and French Vogue. Her enigmatic
new visage, coupled with her gap-toothed smile and wicked
lack of inhibitions, was fundamental to her new fame but
didn’t exactly garner her the type of personal attention she
ultimately sought. As Tippin remembers:

“The owners of Club Sept opened another in

Saint Tropez because that’s where we'd spend the
summers. They figured it would be good for business
because Antonio, Karl, and the whole entourage
would be there. To get in, you had to knock on the
door and this little slit would open, the way they did
in the speakeasies of the 1930s. The night it opened,
Donna was kicking the door and screaming, ‘Open
up you faggots! They built this place for me? WWD
did a story on her and it read, ‘Who is heating up the
gay circus in Paris? It’s Donna Jordan with her bleach-
blond hair and plastic earrings’ They even called her
a fag hag in the article. She was shocked but we were
laughing at her hysterically. We'd say, ‘But you area
fag hag!’ Poor Donna, all she really wanted was a boy-
friend except there weren’t any straight guys around”

Opposite and left: “Fashions of the Times,” 1970s

Top: Pat Cleveland, 1972
This page, top: Grace Coddington,
Jamaica, 1975
Left: Daniel Hechter sunglasses
advertisement starring Corey
Tippin, 1971

Opposite: Illustration of Marisa

Berenson, Italian Bazaar, 1973

154
These pages: SSusan Geiger, Nadege, Eija Vehka Ajo, and Renate Zatsch for Depeche Mode, 1975

156
157
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Jordan fully realized the All of Paris became
impact of her extreme fascinated with Antonio, his
look ona trip to the decadent clan, and their brash
United States. “Donna antics, which offered a sharp
went to Disneyland with contrast to the stuffiness and
Andy Warhol,” Tippin asexuality that had defined
continues. “And all these French fashion. Antonio and
black girls started point- his entourage’s sense of Ameri-
ing at her and screaming. can kitsch, camp posturing,
She said that this was the and lewd behavior (in reality,
first time she realized she most likely stemming from the
was out of context, and boredom and discontent the
the reality of what a freak young expatriates experienced,
she was really struck her.” as well as heavy doses of
However insular amphetamines) liberated the
the world of Antonio and his artsy milieu may have been, designers and stylists who came in contact with them during
they made an indelible mark on popular culture and fashion the brief time they wielded their influence. Tippin recounts:
and constituted a new visual agenda. Yves Saint Laurent, the “IT remember being in a cab with Donna, and Jed and Jay
most French of all designers, took notice and was cited by Johnson. We had just finished L’Amour and Regine’s was giv-
Bill Cunningham in the Chicago Tribune on February 15, 1971, ing a party for us. I said, ‘We better remember this moment
as being influenced by Antonio and his star models Donna because it is never going to get better than this. This is going
Jordan and Jane Forth. Saint Laurent’s tarty homage to the to be one of the most glamorous times of our lives.”
pair revamped his long-established reputation in a collection
that “mirrored the image of the newest spirit of trashy, sexy
glamour” and injected “a streetwalker raunchiness into the
little two- seamed dresses we’ve known for twenty years.”

These pages: Pat Cleveland for Italian Vogue, 1973

158
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Antonio always worked from live models, preferably very
young, pliable girls he found himself in the streets or in
nightclubs and onto whom he could project his particular
of glamour. Certainly these young ingenues required
{
kind of alluring beauty (the definition of which
Imost daily basis for Antonio), but more
needed a strong constitution to be able sit
tions, sometimes for hours on end, while
Antonio documented and reinvented their features, their
bodies, and their souls. A daunting task for any sixteen-
year-old, this was matched by having a heavyweight of the
fashion industry take in their every nuance and bearing. But
those that rose to the occasion and provided the inexorable
stimulation Antonio required were all handsomely reward-
ed. Becoming known as an “Antonio Girl” was special and
provided rare entrée to the fashion cognoscenti. Antonio
160

nurtured his coterie of models and most went on to accom-
plish extraordinary successes armed with the knowledge
given to them by their maestro.
Antonio transformed conceptions of models. While
models had for years been nameless beauties revered for
their versatility, Antonio’s girls had character and strong
personalities. Model Alva Chinn recalls:
161
Antonio's premier muse, Jerry Hall, 1970s
“In those days, there were all these crazy categories in
modeling—there was ‘Miss, “Young Miss, ‘Mrs. They
also had ‘Black? and somehow | didn’t fit into any of
these although I was a black woman. Antonio was
drawn to models with more character. I don’t think he
was interested in what the French called the typique.
There were models with bigger names than ours, but
he chose us because he thought we were the most
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intriguing. And that’s sort of fabulous in itself. He

liked that we were atypical, that we led interesting
lives and were interested in learning about different
things in fashion. Because he loved teaching.
He loved turning you on to things that you knew
nothing about.”

Models of color were nonexistent in the pages of most fash-

ion magazines through the 1950s and into the ‘60s (with few
exceptions such as Dorothea Towles Church, who modeled
mostly for magazines with black readerships), until a sketch
of Donyale Luna appeared on the cover of Harper’s Bazaar
in January 1965. Antonio, being a man of color working in the
fashion industry, championed this bold move and started
introducing women of all ethnicities into his work. His early
illustrations of Cathee Dahmen in the early 60s had been
considered daring due to her Native American background,
and by the late ’60s and all throughout the ’70s, Antonio was

Opposite: “Candy Bar Girls,” starring

Grace Jones, Lus magazine, 1976
This page, clockwise from top left:
Virginia Shaddick, PhotoMagazine,
1977; polaroid of Virginia Shaddick,
1977; Grace Jones, 1977; Instamatic
of Grace Jones, 1977; Instamatic of
Juan and Grace Jones, 1977

163
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These pages, clockwise from left: Anita Russell, 1976; “Candy

Bar Girls’ concept sketch, 1976; Heloise, 1976; Anita Russell, 1976;
Lari, 1976

165
unapologetically utilizing women such as Carol LaBrie and
Amina Warsuma, whose African features could not be masked
in illustrations.
Vogue editor Carrie Donovan (the very same editor
who had stolen Antonio away from WWD and brought him
to the New York Times) discovered one of Antonio’s favorite
models on the subway in New York in 1967. When Antonio
met Pat Cleveland, it was not love at first sight. He told Rag
Times magazine, “When I first saw Pat, I thought she was ugly.
[I thought she was a clown. But after working with her for three

Opposite and above: Pat Cleveland’s runway antics, 1970s

Top: Pat Cleveland and Billie Blair, /nterview Magazine, 1973
Right: Pat Cleveland in Charles James, 1975

167
 e pages: Pat Cleveland in Charles James for Esquire, 1973. Charles James was a friend and inspiration to Antonio, whose career Antonio
put to revitalize during the 1970s.

168
 days, I realized that this girl had the possibilities of becoming
a real beauty. And we took her to Paris and really pushed her.”
Cleveland, a tall, willowy African American with Olive Oy
features, was not a typical beauty, but her indomitable spirit
and theatrical capabilities made her a fashion star. Antonio
loved her versatility and could cast her as a femme fatale, an
ingenue, or any number of roles needed, and Cleveland would
bring it on with great aplomb. Cleveland was one of the rare
models who simultaneously worked both print and runway
jobs, where she was more often seen dancing down top de-
signers’ catwalks than just modeling to Antonio’s delight. She
became part of Antonio and Juan’s inner circle and continued
to work with the pair well into the 1980s on a regular basis.
In the 1970s, Antonio sought out models that truly
embodied the hedonistic mood of the disco era, such as
Cleveland and her lack of inhibitions, Grace Jones and her

169
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These pages Donna Jordan's camp Marilyn Monroe for Esquire, 1973. The article, by Jean-Paul Goude
(“Rags by the Trade, Girls by Antonio”) helped coin the term “Antonio's girls” to describe Antonio's coterie
of models.

170
animalistic charms, and Jordan as a decadent party girl. Their
theatrics entertained him and brought an energy to his work
that heightened the dramatic, sensual styles he favored. Anto-
nio loved these girls, and in him they found a mentor who not
only appreciated their exhibitionism but also encouraged it.
Fate intervened for one of Antonio’s greatest dis-
coveries when he received an assignment for an advertising
campaign that required a young Marilyn Monroe type. Rather
than turn to the local modeling agencies, Antonio asked his
friends and one said he had seen a girl fitting the descrip-
tion somewhere around the rue de Seine. Jessica Lange was
Left: Japanese magazine, early 1970s
nter: Pat Cleveland and Donna Jordan shot by Juan, Paris, 1973
nagazine, early 1970s
a young dancer from Minnesota, who had moved to Paris to
study mime with Jean-Louis Barrault. Obsessively, Antonio
put notes on every single apartment complex and lampposts
in the area looking for “the blonde American girl” and two
days later Jessica showed up to his studio with note in hand. A
yearlong collaboration followed, with numerous modeling as-
signments, nights spent out till dawn, and Antonio’s habit of
entrenching a model into his fashion lifestyle. Lange speaks of
the period lovingly in Antonio’s 1983 book, Antonio’s Girls, but
admits that she didn’t “share the same fantasies” as Antonio.
Disenchanted, Lange left Paris and went to New York. Then
WHE
she was cast in Dino De Laurentiis’s 1976 remake of King Kong.
Critics generally panned her performances on film until 1982,
when she won an Academy Award for Tootsie, and the entire
world saw in her what Antonio had seen almost a decade
earlier.
Shortly after Lange left, Antonio found his “blonde
American” and the perfect muse who did share his fantasies:
Jerry Hall. Hall was sixteen years old and had just arrived in
Paris from Mesquite, Texas, luggage full of clothing her moth-
er had sewn, copied from Fredrick’s of Hollywood catalogues,
and was determined to be discovered as a model in Paris.
173
Not surprisingly, the unworldly five-foot-eleven-inch
blonde stunner dressed in gold lamé peek-a-boo dresses
attracted attention almost immediately, and she soon found
herself having tea with Salvador Dali and dinner with King
Vidor. Undoubtedly her exaggerated Texan drawl and tales
of riding in American rodeos as a kid charmed them. Antonio
met her at a nightclub in Paris in 1973 and, according to
Paul Caranicas’s book Antonio’s People, “he came home
reeling; he could not stop talking about this girl from Texas
who had something special, something indefinable. She was
an Antonio drawing come to life—or was soon to become
 one.” Other accounts suggest that Antonio saw the possibili-
ties but wasn’t so impressed. He felt that her face was pudgy,
and he worked with her to get her weight down. Turns out
her loss was also her gain as Antonio introduced her to
Helmut Newton, who shot her for the covers of French and
British Vogue.
Antonio had a sort of Pygmalion effect on Hall (as he
had with all of his muses), seeing the possibilities of what she
could become and illustrating her in this way. When looking
at the illustrations of Jerry matched with the early photo-
graphs that Antonio took of her, it is clear that Antonio has
chiseled her face, arched her eyebrows, and deepened her
eye sockets, eerily predicting what Hall’s face would look like
a few years later when she became the world’s most sought-
after model. In the October 4, 1984 issue of People magazine,
Hall admitted, “I didn’t really know what I looked like till
Antonio. He drew me, not as I was, but as I should be.”
Jerry moved in with Juan and Antonio and, convinced
she was in love with Antonio, pleaded for him to be her boy-
friend. Curiously, Antonio accepted, and the two became a
couple and even got engaged. For Antonio, the relationship
with Hall may have been more strategic than romantic. Corey
Tippin recalls that a certain bit of jealousy might have been a
factor: “I think a little of it had to do with Antonio transform-
ing these girls and suddenly every designer in the world is
using his image. I think he tried to hold on to Jerry as much
as possible, and I think maybe that’s why he got romantically
involved with her.”

This page: Japanese magazine, early 1970s

Opposite: Campaign for Hudson Stocking, Germany, late 1960s

174
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Above, top: Jessica Lange, Paris, 1974
ove, bottom: Maison de Bonneterie campaign, Amsterdam, 1972
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 Opposite: Antonio loved Jerry Hall's exaggerated Texan persona, 1979
Above: Jerry Hall in Texas, 1974
184
Left: Jerry Hall, Maison de
Bonneterie campaign, Amsterdam,
172
Top: Unknown woman, Grace
Coddington, Norman Parkinson,
Jerry Hall, and Antonio, Jamaica,
1975
Right: Jerry Hall, NYC, 1978
 more curvaceous model
The engagement than usual, and Donna
lasted only a few months Jordan, Jane Forth, and
and Hall, thanks in part Pat Cleveland were too
to Antonio’s tutelage thin for the assignment.
and her romances with Antonio asked Paloma
rockstars Bryan Ferry to pose and turned
and Mick Jagger, eventu-
ally became one of the
Ag , 3
oma
Fog
out some of the most
timeless drawings of his
world’s most recogniza- |aS eT eee eS career. It was an auda-
ble faces. Hall continued cious move—illustrating
to work with Antonio on the world’s most widely
projects but their Svengali-muse relationship had definitely known artist’s daughter in her knickers—but Antonio had
ended by 1977. In later interviews, Antonio speaks proudly always seen beyond the conventions of class and hierarchy.
of Hall’s success, but it’s likely that he felt it as bittersweet Paloma became part of the Antonio clique and soon headed
when his “creation” left the nest and moved on to such a successful lifestyle brand, which included Paloma Picasso
success with others. jewelry for Tiffany’s, “Paloma” perfume for L’Oréal, cosmetics,
But the next discovery was always right around the and home accessories.
corner. Paloma Picasso, a dark, zaftig beauty, had not yet While it seems that most of Antonio’s discoveries
received the inheritance from her father when she met leapt to heights of fame and success, what is not so clear is
Antonio. The famous offspring was a budding jewelry de- just how directly he may have been involved in each one’s
signer and had just completed her first collection for Yves ascent. However, in one model’s case, it is indubitable that
Saint Laurent. Antonio had an assignment that called for a Antonio changed her life. Tina Chow first met Antonio in 1970

Above: Jerry Hall, Italian Vogue, 1977

Opposite: Jerry Hall, 1975

184
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Left: Norman Parkinson's picture of Antonio and Jerry Hall for British Vogue, Jamaica, 1975
Above: Jerry Hall, 1970s
188
 |

Left: Jerry Hall and Antonio, 1974

Above: Jerry Hall in Puerto Rico, 1976
189
 i These pages: Paloma Picasso,
ft
British Vogue, Paris, 1972
Se Wiioridy A ee ee
191
Opposite and left: Tina Chow in her Fortuny collection,
London, 1977
Above: Tina Chow, London, 1975

Below: Tina Chow with husband, restaurateur Michael

Chow, London, 1975
194
Opposite: Saks Fifth Avenue advertisement, 1976
This page, clockwise from top: Paloma Picasso, Elle, 1974: Paloma Picasso, Paris, 1973; Maison de Bonneterie campaign,
Amsterdam, 1972
195
These pages, clockwise from top left: Sayoko Yamaguchi,
Paris, 1975 (left and center); Antonio and Jerry Hall, Paris, 1976:
Manuela Papatakis, London 1974 (left); Marisa Berenson, Paris,
1975 [right]; Toukie Smith, NYC, late 1970s; Patti D’'Arbanville,
Paris, 1975; Alva Chin, Paris, 1975; Anita Russell, Paris, 1976
{Left}; Teri Mae, Paris, 1970s (right).

196
when she was Tina Lutz, an aspiring model. He worked
with Tina and her sister, Adelle, on a campaign for Seibu.
Antonio became enamored with Tina’s Japanese-German
beauty; moreover, it was he who set her up with her future
husband, the famous restaurateur, Michael Chow. When
Tina and Michael married, Antonio served as best man and
Juan as maid of honor. Chow’s enormous wealth, alongside
Antonio’s encouragement, provided Tina with the oppor-
tunity to indulge in her love for
fashion design, particularly vintage
couture pieces, and soon she was
on best-dressed lists all over the
world. Mr. Chow’s became a plat-
form for Tina, whose role as a sort
of hostess to the influential crowd
that the restaurants attracted
quickly made her a celebrity anda
fashion icon long before her pass-
ing at the age of forty-one from
AIDS complications.
Surely, Antonio and Juan
understood that they had a knack
for discovering models, and by the 1970s, they had become
legendary for being able to predict the next hot model. Maga-
zines would hire Antonio and Juan to find the next fresh face,
and they even had plans for opening a modeling agency that
never came to fruition. Antonio saw these women as exten-
sions of himself and his many moods and personalities. Even
when Antonio first published a retrospective book on his
career, he chose to focus on his models rather than himself,
calling the book Antonio’s Girls.

197
1970S

VVIHEN
FASHION GOT
KINKY
As Antonio and his entourage were pushing the extremes of
accepted social behavior in Paris, his work took on a blatant
sexuality that put him at the forefront of anew movement in
fashion photography that included Chris von Wangenheim,
Guy Bourdin, and Helmut Newton, one that placed fash-
ion in an S&M context. Gone were the doe-eyed Antonio
girls in baby-doll dresses of the 60s, and in came a sultrier
vamp with a dark glint in her eye signifying vast sexual

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198
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201
Opposite: Anna Piaggi, Paris, 1975
Above: Pat Cleveland and Juan Fernandez, 1975
Below, left to right: Fred Hughes, Paris, 1975; Tina Chow, Paris, 1975; Tina Chow, Paris, 1975; Pat Cleveland, Paris, 1975
experience. Antonio’s new post-women’s liberation models
went beyond the innocent sexual experimentation of the
1960s and were now challenging themselves with all sorts
of transgressive behaviors, including aspects of bondage
and discipline. The eroticism of these images was meant to
provoke, but they also acted as a perfect metaphor: what
is more fetishistic than fashion? Antonio’s work reflected
both the explicit sexuality of his entourage, who unabash-
edly indulged in all sorts of partnering without shame, and
the greater social permissiveness that he found in Europe
as compared to the States. His foray into what some saw as
dangerous territory resulted in many of his most arresting
images, both photographic and illustrative, combining high
fashion and extremely sexual situations.

Previous pages: “Blue Water Series” starring (clockwise from top left) Grace Jones, Paris, 1975; Patti D’'Arbanville, Paris, 1975; Pat Cleveland,
Paris, 1975; John Stavros, NYC, 1975; Patti D’Arbanville, Paris, 1975; John Stavros, NYC, 1975; Patti D’'Arbanville, Paris,
1975; Grace Jones,
Paris, 1975; Grace Jones, Paris, 1975
These pages: “Blue Water Series,” New York, 1978

207
Above, left to right: Bloomingdale's advertisement, 1977; Depeche Mode
editorial starring Paul Caranicas, Juan, Coraly Betancourt, and Nadege, 1973
Below and right: Pat Cleveland, 1974

208
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209
 Themes started developing in his works that Antonio
would revisit over and over again with a Warholian devotion.
One such theme involved taking pictures of models, social-
ites, artists, and stylists with plastic bags over their faces.
While the glaze and reflective quality of the bags provided
a dreamlike effect, Antonio was connecting it explicitly to
sexual desire, and more specifically (although no sex act or
even nudity is displayed), the practice of erotic asphyxiation,
which is the act of restricting oxygen to the brain for sexual
rousal. The portraiture evinced underneath the bags cover
‘ange of emotions: a red-lipped Pat Cleveland enacts an
xpression, while famed Italian stylist Anna Piaggi
gives a knowing smirk, almost embarrassed to be discovered
with a plastic bag over her head. Antonio had always loved to
provoke and now seemed to be testing the boundaries of his
eminent position in the fashion industry by exploiting taboos
that turned the fashion magazine reader into a sexual voyeur.
Antonio’s girls held expressions more often seen in the pages
of pornographic magazines: lips wet and glossy and parted,
eyes at half mast, necks stretched back, legs splayed, and lithe
hands peeling back the most fashionable haute couture to
expose breasts, no doubt prompted on by the man behind the
lens. Jerry Hall, Donna Jordan, Pat Cleveland, and the others
seemed willing, available, and, quite frankly, horny. His new
210
crop of nymphets appeared to have been directed to sellsex
as well as clothes.
This voyeuristic approach permeated not only
Antonio’s fashion images but also hundreds of personal
images he took through a span of many years at private
dinners and nightclub outings. Antonio was fascinated by
the kiss—whether Hollywood style with its tight-lipped,
sweeping glamour or raunchy, amateur-porn style with
tongues exposed and saliva dripping. Antonio would ask his
friends to kiss while he documented them and would try to
Above, left to right: Bill Cordero, Union Square studio, NYC, 1986; Jean-Eudes
Da
get as many combinations of the people present as possible.
A husband kisses a wife then kisses his wife’s gay friend,
who in turn smooches with a drag queen, who is then seen
kissing Juan, and so on and so on. The photos are at once
highly sexual and quaintly innocent—like watching a game of
spin the bottle played by close friends. Of course, Antonio’s
friends were Paloma Picasso, Karl Lagerfeld, Jerry Hall, and
the rest of the fashion elite, so these images hold a particular
curiosity for the modern-day viewer.
It didn’t hurt that Antonio was able to create an
Canival, Paris, 1973; Bill Cordero, Union Square studio, NYC, 1986
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 atmosphere for his models that allowed them to feel safe
and willing to pose in these unorthodox situations. As Susan
Baraz describes: “It was intense. He could make you feel so
sensual and created an energy between the two of you that
was truly intimate.” Or, as Corey Tippin put it: “To be drawn
was to be seduced.”
An increasingly subversive view of women is seen in
Antonio’s portraits of three models whose hard-edged looks
(and real-life attitudes) had more in common with domi-
natrixes than high fashion models. Eija Vehka, a satirist of
the traditional, arched-back 1950s model; Renate Zatsch, an
androgynous Germanic ice queen; and Zuleika Ponsen, an
otherworldly model whose features were so exaggerated that
she barely seemed human—all exhibited a cold detachment
and severe glamour that came through Antonio’s work as
forceful, aggressive, powerful, and even bitchy. Although all

Opposite: Scott Sterling, NYC, 1984 Top: S&M series starring Jane Thorvaldson, Michelle Long, and Rick Zoller, 1976
Above left: Horsetail series, NYC, 1981 Above right: S&M series, 1976
213
os

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three women had long careers as models, many in the fashion
industry (including the Yves Saint Laurent camp) found them
to be coarse. No doubt Antonio was fascinated with the di-
chotomy that they lent to his work—even when he portrayed
them in the most hyperfeminine way, there was a residual
masculinity to their looks. Antonio continued to explore the
line between the preconceived notions of femininity and
masculinity into the mid-1980s with his portraits of female
bodybuilder Lisa Lyons, whose physical strength contrasts
with her rather delicate features.
Foot fetishism—a pronounced sexual interest in the
feet or footwear—also made its way into many of Antonio’s
images. Antonio was fascinated with women’s shoes and
obsessively chronicled this facet of fashion with much fer-
vor. He took hundreds of images of shoes and feet of models
and celebrities such as Ginger Rogers, Gloria Swanson, and
These pages: Gentlemen's Quarterly (unpublished), starring Juan Ramos and Victor Fernandez, NYC, 1974
215
Diana Vreeland, and these “portraits” seem to speak as much
of their subjects as images of their faces could. Antonio’s
treatment and posed scenarios tell a history and story about
the wearer but, unlike Andy Warhol’s whimsical shoe illus-
trations of the 1960s, Antonio’s shoe tales speak of lust and
obsession. Antonio even created a series of surrealistic draw-
ings referred to as the Shoe Metamorphosis series in which
drawings of models morph into shoes in four easy steps,
sparking thoughts that people, like shoes, could be boxed
and collected.
Men were not spared this new Antonio treatment.
By the 1970s, Antonio was experimenting with several sexual
overtones in his renderings of menswear and incorporated a
gay sensibility that even by today’s standards seems risqué
for major fashion publications. Antonio’s man had one thing
on his mind—sex—and unapologetically flaunted his sex ap-
tight: Jerry Hall, NYC, 1974
ter for Antonio's
the Fashion Institute of
tl. 1975

216
 | } |

cntpaensantenanti

unk singer Betty Davis with John Stavros in 1977. Antonio produced an infamous album cover for Davis's major label
sty Gal in 1975

218
 Opposite: Ou, 1977
Left: NYC, 1982
Below: Nina Gaidarova, NYC, 1975

ae
ae
as

221
Mines Raia
Opposite, top: Janna Chandler,
Texas, 1980
Opposite, bottom: “Fantasy Shoes”
studies for polychrome wooden
sculptures, 1978
Top: Instamatics for French Vogue
including the shoes of Ginger Rogers,
Gloria Swanson, Regine Desforges,
Regine, Liliana de la Barbara,
Anastasia, and Nina Gaidarova
Bottom: “Fantasy Shoes,” studies for
polychrome wooden sculptures, 1978

223
treatment and posed overtones in his render-
scenarios tell a his- ings of menswear and
tory and story about incorporated a gay sen-
the wearer but, unlike sibility that even by to-
Andy Warhol’s whimsi- day’s standards seems
cal shoe illustrations risqué for major fashion
of the 1960s, Antonio’s publications. Antonio’s
shoe tales speak of lust man had one thing on
and obsession. Antonio his mind—sex—and un-
even created a series apologetically flaunted
of surrealistic drawings his sex appeal and his
referred to as the Shoe pansexual lifestyle.
Metamorphosis series in Even a simple render-
which drawings of mod- ing for Italian Vogue, a
els morph into shoes conservative ensemble
in four easy steps, consisting of pleated
sparking thoughts that trousers, sweater, and

people, like shoes, could be boxed and collected. anorak, shows a hint of the model’s fully tattooed forearm as
Men were not spared this new Antonio treatment. it plunges into his trousers to grab his manhood. His Instamat-
By the 1970s, Antonio was experimenting with several sexual ics were more explicit: Models reveal themselves completely,

fhis page: Nina Gaidarova, 1976

posite: Shoe sculpture series starring Robert Radding, NYC, 1977

224
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Opposite: British Vogue, 1974

Top row: British Vogue, 1974
Middle row: French Vogue, designs
by Karl Lagerfeld, 1972
Bottom row: Renate Zatsch and Eija
Vehka Ajo in Esquire, 1972

BEY
ASS e
This page: “Horsetail”
series starring
Opposite: “Horsetail”
series study, 1980
Jean- Eudes Canival, Fire Island,
1979
(except bottom, center: Victor Previous page: Scott Daley, Broadway
Ferna \dez, Fire Island,
1979} studio, NYC, 1977

230
231
|
Did k and

232
 yoo

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233
}
 into that of a sex god whose stamina goes well beyond the
football field.
The images at times became so explicit that Antonio
started gaining commissions from adult magazines such as
Playboy, Viva, Oui, and Mandate, in which he could publish
his work completely uncensored. Once again, Antonio and
Juan’s vision was ahead of its time (decades before Madonna
and Steven Meisel’s book Sex, which explored the same top-
ics), and their fashion-y take on the sadomasochism under-
ground portrays all sorts of combinations of sexes, bondage
imagery, and the chic French fashion that the models wore
(or removed). As graphic as most of these images are, they are
also playful, and as Antonio and Juan used their fashion work
to idealize the many aspects of bondage and discipline, one
thing was clear—the transference of power was ultimately in
their hands.

Opposite: Italian Vogue, 1982

Right: Jerry Hall and John Stavros in The Picture Newspaper, 1977
Below: David in “Mask” series, NYC, 1977

235
1980S In 1976, Antonio—ever at the forefront of the fashion zeit-

7 NE INOS geist—felt the paradigm shift and decided it was time to

return home. “Antonio and Juan moved back to New York

. VV YORK when they felt the mood had changed and Paris began to feel
a little institutionalized,” recalls Paul Caranicas. Ever the cha-
meleons, they sought a new vocabulary to add to their visual
language and would start the chase for a new form of beauty.

236

In truth, despite the small fortune they had amassed in Paris
over a decade, Antonio and Juan were also feeling a financial
pinch. The jet-set life they were leading was expensive to
keep up, and a lucrative offer from Saks Fifth Avenue, cou-
pled with reports that New York was undergoing a cultural
resurgence, led Antonio and Juan to return home. By then,
Antonio was a phenomenal fashion success, and where they
237
Rebecca Gigliere
in Charles James,
Vanity Magazine no.
2 {cover}, 1982
lived was immaterial to their continued popularity overseas.
In fact, in the years after Antonio left Europe, assignments
kept pouring in from the top European fashion houses. An-
tonio’s ability to create and work in infinite styles gave him
the rare opportunity to design campaigns for several fashion
houses at once, as he could give each a completely different
brand identity. Antonio, relieved of the close
 :ssociation with Karl Lagerfeld, was now a free agent and
could work with everyone—and did. For Missoni the draw-
ings were heroic; at Versace, homoerotic; for Norma Kamali,
the images were steeped in 1940s nostalgia; at Yves Saint
Laurent, they were bourgeois; for Valentino, statuesque and
repetitive, and so on. Antonio had never been hotter.
Antonio was always in step with the world of fashion
and by 1978, a new crop of designers, including Jean Paul
Gaultier, Thierry Mugler, Claude Montana, and the instigator
of the punk movement, Vivienne Westwood, had emerged,
embracing a new aesthetic that turned its back on the pro-
nounced sexuality of the 1970s. As well, the Japanese were
gaining momentum with the popularity of Issey Miyake, Yohji
Yamamoto, and Rei Kawakubo of Comme des Garcons. These
designers, with their spare color scheme of black, white, and
gray took the voluminous shapes of traditional Japanese
clothing and combined them with innovative new textiles,
sparking a revolution in fashion.
The divine decadence of Antonio’s woman of the
early ’70s now seemed out of place, and Antonio sought
models with more mystery than sexual desire behind their
eyes. Antonio shed overt sexuality and replaced it with included both men and women—Antonio continued playing
androgyny, realism, and the most somber tone of his career. with gender roles in a way that sublimated sexuality rather
Perhaps inspired by his own sexual preferences—which than showcased it, depicting girls dressing as boys and boys
dipping into women’s closets. The Antonio girl became unat-
tainable for the first time, as this new crop of models, rather
than challenging viewers by looking them in the eye, seemed
indifferent to them. They possessed an inward focus, wallow-
ing in narcissism and entering a surreal world of conflict and
contradictions.
For some, this intellectualism killed the spontaneity
of Antonio’s work, though he countered the standoffishness
expressed by his models with ravishing backdrops and a
more idealized image that would form a new realm of style.
Antonio exaggerated the excess of the opulent clothes of
the new designers of the’80s—oversized sweaters became
as large as comforters, hats were doubled and tripled onto
a model’s head, shoulders extended from one side of the
sketch pad all the way to the other and ornate textiles be-
came even more adorned as Antonio rendered every cable
and print as meticulously as possible. Antonio’s drawings of
the late ’70s and early ’80s are a smorgasbord of color and
textures and at times the models seem to collapse under the
weight of all the layers of richness.

238
Top: Antonio and model, NYC, 1978
Opposite: Bill Cunningham and
Antonio, NYC, 1978. Cunningham
was Antonio's neighbor during his
Carnegie Hall studio days, and
remained a lifelong friend.
Right: Tara Shannon and Antonio,
NYC, 1981

239
 To accommodate the ornateness of the clothing of
the day, Antonio’s models grew to gargantuan proportions.
Starting in 1976, when Antonio was commissioned to illustrate
posters for the Summer Olympics, his consummate man be-
came a brawny gym rat and, by 1984, would reflect unachiev-
able bulk with superman-like chiseled abs, impossibly broad
shoulders, rippling muscles, and a tiny wasp waist. Many
times the models are shown as if they were elevated on podi-
ums and Antonio was drawing on the floor, with the perspec-
tive overstated so as to seem more statuesque. This distance
gives the men an impervious air—invulnerable to the viewer’s
gaze—and elevates the fashion to godlike status.
The women (exemplified by Antonio’s reigning muse
of the 1980s, Jane Thorvaldson, a tall, broad-shouldered,
square-jawed stunner who could, at a glance, pass for a

op: Vanityno. 3: Charles James, 1982

1: Vanity no. 2: Valentino, 1982

240
Right: Oscar de la Renta
advertisement, 1982
This page, clockwise from top left:
Mike Morino, NYC, 1983; Liz Rivera, 1983;
unfinished sketch for Missoni Campaign,
1983; Missoni campaign, Liz Rivera, 1983;
Maria Snyder, NYC, 1983; Anna Piaggi
styling the Missoni Campaign, 1983
Opposite, top: Tuxedo advertisement starring
Adam Haridopolos for Bloomingdale's, New
York Times, 1978
Opposite, bottom: Polaroids for tuxedo
advertisement starring Adam Haridopolos,
New York Times, 1978

242
243
issoni campa ign, 1984
244
246
steroid-enhanced member of a men’s swim team) also
became larger-than-life, Amazonian figures, echoing a new
empowerment that was surely a result of the women’s libera-
tion movement and the increasing power of women in the
workplace. Antonio’s “superwomen” announced a new style
icon to emulate, an idealized image of women with monu-
mental physical and intellectual strength who were a force to
be reckoned with.
Antonio’s new figures constituted a new kind of
urban warriors—perhaps hearkening back to his childhood
association with the Comanche street gang—and he pro-
duced a series of illustrations depicting this powerful fierce
breed at war on the city streets. Of course they wear the
latest in fashion but accessorize themselves with all sorts of
nose rings, feathers, dashes of bright makeup, and animal
tails, all the while carrying spears, bows, and arrows. Did
Antonio see fashion itself as a battleground (his competitive
nature turning every job, every drawing, every day into a

Opposite: China campaign for Bloomingdale's, 1980

Above left: Campaign for Sportsgirl department store, Australia, 1979
Above right: Russia campaign for Bloomingdale's, 1981
Right: China campaign for Bloomingdale's, 1980

247
Opposite: Norma Kamali campaign, 1986
This page, clockwise from far left: Norma Kamali campaign, 1986; Yves Saint Laurent,
1983:
Yves Saint Laurent, 1983

248
dosite: Saks Fifth Avenue, 1976
clockwise from top left: Saks Fifth Avenue, 1976: Saks Fifth Avenue, 1976: Maison de Bonneterie
campaign, Amsterdam, 1973:

250
 struggle to remain at the top of the heap), or was fashion the
secret weapon for battling society and its conventions?
Antonio’s works in the ’80s are the most conceptual
of his career. They are a stark contrast to the idealism of
Antonio’s girls of the 60s and the perversions of his ’70s girls
but may also reflect an aging Antonio’s growing disinterest
in commercial fashion as he contemplated his legacy. By
this point Antonio was contemplating a transition to what
he referred to as “pure art”—the world of fine art that to him
seemed miles away from the commercial success he enjoyed—
and was approaching his fashion work with a more academic
eye. “Antonio became obsessed with getting recognized as
a fine artist,” Susan Baraz recalls. “He thought it would be
a corroboration that he’d made it in the ‘real’ art world. It’s
one thing to be an illustrator, another to get a museum’s
seal of approval as an innovative contemporary artist.”

>, top: L Uomo Vogue, 1982

H 22
bottom {left to right): Angelo Colon, 1983: Angelo Colon, 1983; Grace Jones,
1983

202
This page, top L'Uomo Vogue, 1982
This page, bottom J ~ S€ ° S
eS 5a coN
oy

253
 FASHION OUT
Oi => @ el Nips
By the late twentieth century, it can be argued that nothing
more could be invented in fashion. Everything that could
have been done with cloth in relation to the human body had
already been created, and the job of the fashion designer was
being redefined. Designers, the best ones, became adept at
combining influences and past trends to come up with new
looks that seemed relevant to their time. Taking something
that one person has and making everyone want it became the
new art. And Antonio was a master at it.
Antonio’s design influence was not a direct path from
sketchpad to clothing rack. Rather, he used his eagle eye
to spot trends and illustrated the designer clothing he was
commissioned to draw by styling it in a new way, inspired
by something he may have seen on a homeless person, or a
disheveled girl on that Saturday morning ritual, the walk of
shame after a long night clubbing, or by the way an accessory
was worn in a traditional Mongolian painting he had seen at
a museum. The designers responded by incorporating the
stylistic choices Antonio presented in his illustrations of their
work back into their collections the following season.

Doze, NYC, 1985

Far left: Doze, NYC, 1983
Top: The Rock Steady Crew
(clockwise from left: Ken Swift,
Take One, Kippy, Crazy Legs,
Mr. Wiggles, and Chino), NYC,
1983. Antonio was inspired
by the breakdancers he saw
on the streets of New York,
and incorporated them into
his high fashion work.
Left: Doze, NYC, 1983

256
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This page: Polaroids from casting calls with various dancing crews and their
friends, NMAC, SS
257
258
Opposite: Pat Cleveland, New York Magazine, 1975. The Paragon sleeping bag was
the focal point of several of Antonio's photo shoots, and
also inspired the design of puffy down coats, which continues to this day.
Top: ‘Black and White shower” series, Paris, 1975, starring [left to right} Pal
oma Picasso, Grace Jones, Sayoko Yamaguchi, and Pat Cleveland
Above: Norma Kamali sleeping bag coat, 1981

259
 yess
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ove: Gentlemen's Quarterly, 1984

iockwise from top left: Eija Vehka Ajo and Victor Fernandez, New York Magazine, 1975; Jerry Hall and
Victor Fernandez, New York
onio with models, NYC, 1981 (middle and bottom]

260
 One of Antonio and Juan’s most influential contri-
butions came out of their simple decision to locate their
new studios in Union Square upon their return to New York
from Paris. The new studio at 31 Union Square West was a
2,000-square-foot loft directly across the street from Andy
Warhol's factory, but, more importantly, it was also right
down the street from Paragon, a huge sporting goods store
that proved to be an invaluable asset to them. Starting in
Paris, Juan and Antonio, perhaps feeling that they wanted
to dress as American as possible, began to ditch their Euro-
pean-cut suits and started wearing the team uniforms and
equipment they bought at Paragon, which inadvertently
introduced athletic gear to the fashion crowd they ran with.
Antonio and Juan had been asked to organize a fashion show
for the Fashion Group, which highlighted key trends and new
designers to the fashion industry every season. Instead of
utilizing known designers, they styled Jerry Hall, Pat Cleve-
land, Eija Vehka Ajo, Renate Zatsch, and Victor Fernandez
ina collection composed entirely of clothing from Paragon.
Fashion journalist Priscilla Tucker attended the event and
confirmed in New York Magazine that Antonio’s show induct-
ed “a style revolution to bring fashion in line with the life
the world wants to live—the sporty, outdoorsy, comfortable,
American Life.” In the article that accompanied pictures of
Antonio’s show, Tucker proclaimed that “we are in the mid-
dle of the great age of American, not French, fashion.” Much
like Gabrielle Chanel’s
discovery and use of
jersey in 1913—a first
in French fashion that
was cited as liberation
for women who aban-
doned their corsets in
favor of her chic, com-
fortable style—Anto-
nio and Juan loved the
functionality, bright
colors, and durability
of athletic uniforms.
Sports apparel has
since become a staple
of American fashion as
well as street fashion
over the last thirty-five

261
Opposite: Maria Snyder, Vanity no. 9, 1983
This page, clockwise from top left: Vanity no. 6, Karl Lagerfeld designs, 1982; Vanity no. 9, cover of Maria Snyder, 1983;
Vanity no. 6, 1982;
Vanity no. 6, 1982

263
 darova, “Ribbon” series, NYC, 1977
) preps Nina Gaidarova for “Ribbon” series, 1977
idarova, Ribbon” series, NYC, 1977

264
 years but back then it was not con-
sidered “fashion.” Antonio’s show
and images heralded a new trend
that was to become synonymous
with 1980s fashion and beyond.
Paragon provided all sorts of
props—from football helmets to foil
blankets for marathon runners—
which Antonio could utilize in his
illustrations and photography, but the bright red sleeping bag
in which he photographed Pat Cleveland would prove to be
most influential. Wrapping the bag around her naked body,
Cleveland contorted it into all sorts of wondrous shapes and
transformed the cheap camping gear into an object worthy
of French couture status. This foreshadowed, among other
designs, the famous sleeping bag coat created by Antonio’s
friend Norma Kamali.
During this time, Antonio was also looking at a new
form of street dancing that had a distinct style and dress
code. He started inviting the break-dancers he saw perform-
ing on the streets into his studio (including the Rock Steady
Crew, who would later be called as “the foremost break-
dancing group in the world” by The New York Times). An ex-
change of ideas developed between Antonio and the dancers
as he watched the way they cuffed their pants, belted their
oversized T-shirts, and wore layers of dangling, large medal-
lions and incorporated these “B-boy” styles in his illustra-
tions, which (along with his photographs) made their way
into international fashion magazines.
Antonio’s work with Anna Piaggi, the eclectic fashion
editor and muse with whom he formed an avant-garde maga-
zine called Vanity in 1981, helped revive an interest in the
fusion of the worlds of modern art and fashion. Vanity was
groundbreaking in many ways but notable for its devotion to
fashion illustration. Every page was a lush hybrid of photo-
graphs, writing, and illustration (many of which were drawn
by Antonio). The magazine, although not a big commercial
success, was a Cult favorite among the fashion industry’s key
players. For Antonio, Vanity was a lab in which he could ex-
periment, free of the constraints of his advertising jobs. For
one series, Antonio and Piaggi reimagined fashion designers

These pages: Instamatics and concept sketches for Divine’s play

Neon Woman, NYC, 1977
267
5, clockwise from top left: Five illustrations and sketches from Antonio's
book, Antonio's Tales of 1007 Nights 1985;
Ing tor Antonio's Tales of 1007 Nights, 1985

268
 s
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in the style of famous artists and However, art-inspired fashions

these caused a sensation. Art was
on his mind, as it would soon be
on every designer’s.
Fashion had been influ-
enced by modern art before; at
the start of the twentieth century,
Paul Poiret, a designer with very
close connections to the art world,
incorporated the exotic colors
and motifs seen in modern art into his work. In the late "20S,
Elsa Schiaparelli’s collaborations with Salvador Dali brought
surrealism to couture. Even Yves Saint Laurent looked to
the canvas when he designed his famous Mondrian dresses.
hadn’t been seen for twenty years,
and Antonio’s pages in Vanity pre-
ceded what would become a huge
trend in the decade. In fact, many
of the established designers de-
picted on those pages (such as Ar-
mani, Fendi, and Karl Lagerfeld)
started incorporating influences
from fine art into their collections
(and in some cases continue to do so), and younger contem-
porary designers including Stephen Sprouse and Christian
Lacroix started putting the museum onto
the catwalk.

269
1980S

FAME
By the late 1970s and throughout the ’80s, Antonio was
recognized internationally as the world’s foremost fashion
illustrator. He was a certified celebrity, featured on television
news segments, profiled in magazines and newspapers, and
mobbed for autographs at the various art colleges where he
lectured. There were one-man shows in museums; personal
appearance tours in Australia, England, France, Germany,
and Italy; Antonio fan clubs in Japan; books; and even a disco
hit called “(I Wanna Be an) Antonio Girl.”
His talent and fame secured him groundbreaking
contracts at Bloomingdale’s, for whom he designed all of the
ad campaigns and store concepts over five years, as well as
consultation work for Fiorucci, an Italian fashion label
whose New York store became legendary for its directional
2. In 1982, Antonio launched his book Antonio’s Girls
iorucci, which, in typical Antonio fashion, featured

and Jerry Hall at Fiorucci for the launch of

\Qr
8?
 PF 4 + Daher rkaszADKI re

This page, clockwise from top left:

Jerry, Pat, Antonio, and Grace (shot by
Roxanne Lowit] at the Fiorucci launch of
Antonio s Girls, NYC, 1982. Andy Warhol
at Antonio's exhibition at Parsons, NYC,
1984; Antonio and Andy at the Parsons
exhibition; Andy, Grace, and Dolph
Lundgren at Antonio's Parsons exhibition.

2EE
This page, clockwise from top left: Cover of Antonio’s
Girls, 1983; Antonio's portrait of Andy Warhol, 1984;
Fred Hughes, Andy Warhol, and Ultraviolet, NYC, 1978.
Antonio on the cover of /nterview, 1973: Andy Warhol
and Antonio shot by Roxanne Lowit, 1980s
Opposite, from far left: Antonio signing books at
ON THE INSIDE
Fiorucci at the Antonio's Girls launch; Antonio's : — 1 p Jost at
exhibition at FIT, NYC, 1989

273
break-dancers in the windows and a reunion of his muses
Jerry Hall, Pat Cleveland, and Grace Jones. Mobs of fans
lined up to buy an autographed copy of the book, including
Antonio’s idol Andy Warhol himself, who gushed, “I believe
his technique and drawings are wonderful. Above all, he has
a journalist’s eye. He sees more than others. Lopez dwells
beyond the limits of any commercial category he may have
been placed in. Beyond his paper creations, Lopez can create
and influence other entities.”
But in contrast to his astounding success was a
shadow that had begun looming over the fashion industry.
+
Opposite, clockwise from top left: Bonnie Berman Diamaru, Japan, 1983; T-shirt
design for Bl oomingdale’s China campaign, 1980:
Jane Thorvaldson Golden Mummy series, 1978: Sayoko Yamaguchi, Vanity, 1983
Above: Bonnie Berman Diamaru, Japan, 1983
PARS.
276
By the beginning of the 1980s, reports began
to emerge of a new form of cancer that was
taking the lives of a small group of men in
New York and California. Antonio and Juan
first read about AIDS in the newspapers but
it affected them firsthand when they started
seeing many of their close friends and col-
leagues become sick. Their friend Terry
Riley was the first to get sick with a raging
pneumonia, followed by Antonio’s ex-
boyfriend Michael Thiele and makeup artist
Way Bandy. Their illness terrified Antonio
and, when he tested positive for HIV in 1984, he was deter-
mined to beat it. Antonio spent the next couple of years (and
thousands of dollars) trying out every treatment that money
could buy—from a doctor who would drain him of blood,

Opposite, clockwise from top left: Antonio and Karen Swindell at the Fiorucci launch
of Antonio's Girls; Sketches for Fiorucci, 1980s: Pat Cleveland, 1970s
This page, clockwise from top: Antonio with Annabel D’Huart, wearing Antonio's
designs for Fiorucci, shooting for Oui, 1977; Pat Cleveland in Antonio's Fiorucci
designs, 1978; Annabel D’Huart, Oui, 1977
Zee
 centrifuge it, and transfuse it back into his body to even less
orthodox methods such as witchdoctors, crystals, and healers.
In between treatments, Antonio never ceased to
work and soldiered on with a fervor that perhaps was an
indicator that he sensed his time running out. His work from
then does not explicitly address his condition but there’s a
connection between much of his work in the ’80s and this
impending sense of death, a series of clues in his art. The
exaggerated athleticism of his models was surely a reaction
to the frail, thin, afflicted AIDS patients, and androgyny in
his models was the antithesis to sexuality, which many felt
had gotten them into the mess in the first place. His ongoing
ribbon series, this time with Jane Thorvaldson engulfed in
thick, gold lamé bands, took on the guise of Egyptian mum-
mification preserving the body for the afterlife. Toward the

Opposite: Scavullo portrait of Juan, Jerry Hall, and Antonio, early 1980s
This page, clockwise from top left: Diana Vreeland in her apartment,
early 1980s; Diana Vreeland and Paloma Picasso in Vreeland’s apart-
ment, 1980s; Grace Jones and Antonio, early 1980s; Andy Warhol,
Debbie Harry, Grace Jones, Antonio, and unknown, NYC, 1982: Grace
Jones with her album Fame [cover photo by Antonio], 1978

219
not by Roxanne Lowit; Antonio and Karl L agerfeld, NYC,
rot by Roxanne Lowit
ge, clockwise from top left: Diane von Furstenberg, NYC,
ancesco Scavullo, and Polly Mel en at Antonio's
4: Antonio and Pa Cleveland, YC, 1983, shot by
Grace Jones at Antonio's FIT
Leon Talley, YC, 1982 (center):
NYG, VS |right]; Antonio and
ion in Paris, 974; André Leon
Roxanne Low t

280
end of Antonio’s life, he A few days later,
abandoned color, using Antonio’s condition wors-
only black and white as ened, and Baraz admitted
his own rich life began to him to the U.C.L.A. Medi-
slip away. cal Center in Los Angeles,
In January of 1987, where he died of compli-
a
Antonio traveled to Guad-
alajara, Mexico, for peach-
VEIL GULLY » cations related to AIDS
on March 17, 1987. He was
pit therapy (which was be- forty-four years old. Juan
ing falsely touted as a cure Ramos died of complica-
for AIDS). Antonio became tions related to AIDS on
gravely ill and, instead of November 2, 1995. Dur-
traveling all the way back ing the eight years that
to New York, went to Santa Juan outlived Antonio,
Monica to recuperate at the he focused on preserving
home of Susan Baraz, his first model and friend from their their work together, and, with Paul Caranicas, published
FIT days. Baraz’s close friend Robert Berman organized a sale a retrospective book titled Antonio 60, 70, 80. But without
and gallery showing of Antonio’s work to help raise funds for the force of Antonio’s celebrity, the brilliant art-directed
his many treatments. Antonio, too frail to attend the opening, edition of three bound tomes was scaled back to a smaller
sent Baraz in his place. Upon her return, Antonio, who had edition that is now out of print.
worried that no one in Los Angeles knew him, asked if any- A few days before he passed away, Antonio, barely
one had attended the opening. He was delighted to hear that able to move or speak, indicated to Baraz that he’d like
it was one of the biggest art gallery openings in California, pen and paper. Even at his worst point, Antonio needed
with over two thousand people showing up and the entire what had defined and sustained him throughout his entire
show selling out. life. He needed to sketch.

Above: “Nie w
York Stories” catalog cover, Laforet Harajuku, Tokyo, 1978
Y

Ipposite, top: Antonio, late 1970s

Opposite
‘)
, bottom: Juan and Antonio, Union Square studio, 1980

282
283
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Above: Nao Oishi's piece for a Japanese magazine in the early 1980s, a rare instance of Juan
being credited equally with Antonio for their work.
285
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By Anna Sut
I’m from the generation that came to New York to meet their
idols and, in my case, those idols were Andy Warhol and
Antonio Lopez.
I first became aware of Antonio Lopez in the pages of
Seventeen magazine, through the amazing advertisements he
illustrated: the girls with impossibly pretty faces; the beauti-
fully rendered shapes of bodies, hairstyles, and clothing; and
always, the most exquisite line quality. The one that stands
out the most in my memory was an adorable ad he did for
Connie Shoes during the 1960s.
Then one day—eureka! I found an article about him
in Eye Magazine. (One of the best magazines of the ’60s, it
was a combination of counterculture, rock music, film, and
fashion—my absolute favorite things.) Antonio was featured
with his partner, Juan, and his muse, Cathee Dahmen. Cathee
and Antonio were pictured in matching ringlet perms, and
the magazine referred to Cathee as Antonio’s “twin sister.”
Suddenly, I started noticing Cathee in all the magazines.
In one issue of Mademoiselle, she was shown looking like a
Colette doll, with Shirley Temple curls, a schoolboy tie, drop-
waist hipster maxi skirt, and Mary Janes. That picture hung
on the wall for years in my bedroom in suburban Detroit.
I even insisted that my mother buy me a ringlet wig that I
thought looked exactly like Cathee’s hairdo.
| was also mesmerized by another of Antonio’s dis-
coveries, Jane Forth (a fellow Detroiter), when I saw pictures
of her in Life magazine, with her slick, Wesson-oil hair, Bakelite
jewelry, and vintage clothing. Much of her style was directly in-
spired by Antonio, and I was just fascinated with those pages.
In fact, | read all I could about Antonio and his entou-
rage. | was determined to move to New York and hoped to
one day meet them. I had heard that Antonio and his crowd
hung out at the Bethesda Fountain in Central Park during
the day and at Max’s Kansas City at night, so that’s where I
went when I finally arrived in New York. One night at Max’s, I
caught a glimpse of Donna Jordan (also an Antonio protégée)
storming into Max’s for a quick dance on the second floor.
She was a vision in her signature white-blond hair and wore
the highest Mario Valentino pumps, sheer black stockings
held up with garters, a classic trench coat, and nothing else. I
will never forget it.
However, by the time I got to New York, Antonio had
moved to Paris. Sol planned a trip to visit my high school
friend, Paul Keckonen, who was a top male model in Paris with
Zoli. In the April 1975 issue of Interview, Antonio drew Brigitte
Bardot for the cover and contributed pages inside from his
Paris sketchbook. This issue became my own guidebook when
I visited Paul. Paul showed me where Antonio lived on rue des
Rennes. Antonio had recently drawn Paul, and Paul said that
he had been hanging out there a lot. Through Paul, I met
Corey Tippin and Jay Johnson. We all went to Café de Flore
and La Coupole, where I saw Shirley Goldfarb, Kenzo, and
Emmanuelle Khanh. Outside Club Sept, I saw Grace Jones
arrive on the back of a motorcycle, wearing a long evening
gown. She flew down the stairs into the arms of Marion
Womble, who twirled her around the dance floor to the
fabulous music of Guy Cuevas. | also met Paloma Picasso, yet
another Antonio muse, at Dig-it-Boys, a disco that appeared
in Antonio’s Interview drawings of happening places in Paris,
right next to Club Sept. And we went to Andy Warhol’s rue
du Cherche-Midi apartment for a party for Rudolf Nureyev.
It was the Paris of my dreams, the Paris I had seen in those
French magazines | lived for such as French Vogue, Elle, and
Depeche Mode, all of which featured Antonio’s work. Unfortu-
nately, | did not meet Antonio in Paris.
Years later, I did finally meet Antonio in New York.
Kezia Keeble and Paul Cavaco got me a styling job working
on Antonio’s segment of the film Portfolio in 1983. I remem-
ber he was so fun and kind. To watch him draw was truly
amazing. He did giant portraits of Paulina Porizkova and
300
 Carrie Nygren witha to the disco music from
big paintbrush. In a few the time of Club Sept
strokes he could capture (ZE Records, Lizzy
their essence, always Mercier Descloux,
making them even more Cristina, and Kid Creole
beautiful than nature and the Coconuts).
could have. Years later, Antonio Lopez was
Paul gave me Kezia’s such a strong influence
much-loved issue of on everything I love
the New York Times’ about fashion. For my
“Fashions of the Times”
collection, I tried to
that featured the most channel the moment
legendary of Antonio’s he went to Paris with
collages and artworks. his American muses
Antonio was
and how he helped
on my mind when I was introduce vintage
conceiving my Spring
fashion to that scene
2012 collection. I had
(an aesthetic that
heard that Mauricio
was totally novel in
Padilha and Roger Padil-
French fashion at the
ha were doing a book
time). Antonio was
on him so I contacted
such a creative force.
them. They were so
He made stars out of
generous in sharing stories and images with me, some I his models and introduced new music—the Philadelphia
could only vaguely remember (or others I couldn't find sound, that disco feeling—to Paris. But much more than
from my own research). I learned so much more about that, he influenced fashion around the world with his
Antonio as a person from reading their manuscript. Their imagination, supreme technical skill, and magical per-
passion was contagious and inspired one of my all-time sonality. I love that one person was able to do all this.
personal favorite collections.
On the inspiration boards in my office, I’ve pinned
Antonio’s Interview magazine pages, which became the
jumping-off point for all my research. I papered the walls
with pictures of Marisa Berenson, Paloma Picasso, Loulou
de la Falaise, Jerry Hall, Donna, Jane, Corey, and of course,
Antonio and Juan. To put me in the mood, I started listening

Artwork for “Antonio's Guide to Paris” from Interview, 1975

301
 ACGKNOVVEEDGMIENTS

Thank you to Paul Caranicas for his support of this project; for graciously allowing us access to the archives of
the Estate of Antonio Lopez and Juan Ramos; and for entrusting us with their legacy.

Thank you to our team at Rizzoli: our publisher, Charles Miers; our editor, Caitlin Leffel; our managing editor, Anthony Petrillose;
our publicist, Pam Sommers; and Kayleigh Jankowski for her invaluable help.

Thank you to Corey Grant Tippin and Susan Baraz for their wonderful insight into the life and times of Antonio.

Thank you to Marc Balet and everyone at Mixed Business Group for their hard work on this project.

Thank you to Anna Sui and André Leon Talley for their brilliant contributions to this project.

Thank you to Andy Warhol.

Anda special thank you to the many people who helped us tirelessly on this project throughout the years:
Bill Cunningham, Pat Cleveland, Donna Jordan, Jane Forth, Jerry Hall, Grace Jones,
Pamela Golbin, Carol LaBrie, Alva Chinn, Anna Piaggi, Adelle Lutz, Jessica Lange, Patti D’Arbanville,
Roxanne Lowit, Laird Borelli, Andrew Werner, Scott Ewalt, Evan Lenhoff, Eric Gartner, Matthew Scheier,
Brynne Formato, Feliciano Martinez, Annika Sundelius, and Ryan Cox.

2OURGES AND GReDIiisS

Antonio’s Girls, by Antonio Lopez. Congreve Publishing Company, 1982.

“Antonio's World,” by Roger Padilha. MAO MAG 4, published by Roger Padilha and Mauricio Padilha, 2005.
Antonio 60.70.80: Three Decades in Style, by Juan Eugene Ramos. Schirmer Art Books, 1994.
Antonio’s People, by Paul Caranicas. Thames & Hudson, 2004.
Fashion Illustration Now, by Laird Borelli. Abrams, 2004.
“Outside Fashion,” by Stephanie Harrington and Blair Sobol. The Village Voice, May 9, 1968.
“A Puerto Rican Shines in Paris,” by Penny Maldonado. The San Juan Star, September 8, 1974.
“Antonio,” by Rennie Ellis. Rag Times, 1979.
“Antonio Lopez: The Man Who Draws the Ads the Whole (Fashion) World Loves,” by Christopher Petkanas. The Villager, July 12, 1979.
“When It Wants to Go Top Drawer, Fashion Gives the Brush to Antonio,” by Toby Kahn. People, October 4, 1982.
“Antonio, Life and Art,” by Liz Jobey. The Independent on Sunday, November 6, 1994.
“America Hurrah: Down and Outdoors in the Seventies,” by Priscilla Tucker. New York Magazine, November 24, 1975.

All artwork and photography by Antonio Lopez and Juan Ramos courtesy of the Estate of Antonio Lopez and Juan Ramos unless otherwise noted.
Pages 272, 273 & 281: Roxanne Lowit
Pages 4 & 186: Copyright Norman Parkinson Limited/ courtesy of the Norman Parkinson Archive, www.normanparkinson.com.
Page 273: Interview Magazine, August 1973.
278: Photograph by Francesco Scavullo. Courtesy of Sean Brynes.
Photography of large print artwork by Andrew Werner.

© 2012 Roger Padilha and Mauricio Padilha

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted
in any other means, electronic, mechanical, photocopying or otherwise, without prior consent of the publisher.

First Published in the United States by Rizzoli International Publications, Inc.

300 Park Avenue South
New York NY 10010
www.rizzoliusa.com

Design by Marc Balet, Mixed Business Group

Edited by Caitlin Leffel

Printed in China

2012 2013 2014 2015 /10987654321

ISBN: 978-0-8478-3792-2
Library of Congress Control Number: 2012934143

302
 Pe im Ol Ses iG)=

MAURICIO PADILHA

Mauricio Padilha worked as a public relations director and

fashion show producer for various top designers in New York City
until founding his own firm, MAO Public Relations, with his brother Roger.

As coeditor in chief of MAO MAG, he has published articles

on some of the most important artists of our time.

In 2009, he coauthored The Stephen Sprouse Book, published by Rizzoli.

ROGER PADILHA

Roger Padilha started his career in fashion as the designer behind SPOOKY.

In 1998, he founded MAO Public Relations with his brother Mauricio.

Additionally, in 2001, the two started the popular
fashion publication MAO MAG.

In 2009, he coauthored The Stephen Sprouse Book, published by Rizzoli.

303
; ae = = 7 7 > J :
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onah a
7 7 "
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a
ue
Roger Padilha started his career in fashion as the
designer behind SPOOKY. In 1998, he founded MAO
Public Relations with his brother Mauricio. In 2001, the
brothers started the popular fashion publication MAO

MAG. In 2009, he coauthored The Stephen Sprouse Book,

published by Rizzoli.

Mauricio Padilha worked as a public relations director

and fashion show producer for various top designers in

New York City until founding his own firm, MAO Public
Relations, with his brother Roger. As coeditor-in-chief

of MAO MAG, he has published articles on some of the

most important artists of our time. In 2009, he coauthored

The Stephen Sprouse Book, published by Rizzoli.

Published by Rizzoli International Publications, Inc.

300 Park Avenue South

New York NY 10010

www.rizzoliusa.com

Printed in China

Design by Marc Balet / Mixed Business Group

Cover photograph by Antonio Lopez
 US $65.00 CAN $65.00.

LI
ISBN 978-0-8478-3792-2

9"78084711837922