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"Unknown photographer: A Group of Young American Artists of the Modern School (from left to right: Jo Davidson, Edward Steichen, Arthur B. Carles, John Marin; back: Marsden Hartley, Laurence Fellows), c. 1911."

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But who was he? Here’s an excerpt from Walt Reed’s write up on Fellows…“…showcased the talents of such major illustrators as Charles Dana Gibson, James Montgomery Flagg, Orson Lowell, T.S. Sullivan, Peter Newell, Art Young, and many others who mirrored the country's foibles in their enthusiastic ridicule.

Joining the group in the early teens was an ultra-sophisticated young artist named Laurence Fellows. A native of Pennsylvania, Fellows had received his training at the Philadelphia Academy of Art, with several follow-up years studying in England and in France at the Academie Julien under J.P. Laurens.

 Upon his return to the United States, Fellows' fresh point of view, particularly reflecting a French/Vogue influence, found him a ready audience. His style was distinguished by a thin outline, flat tonality or color, with the emphasis on shapes rather than details. Just as quickly, however, he acquired many imitators. Before John Held, Jr., for instance, had invented his "flapper," he was clearly adapting much from Fellows' mannered drawing style into his own submitted gags. Other new converts were Hal Burroughs, Bertram Hartman, and Ralph Barton, who would each run with it in their own way. Fellows particularly liked to play with off-balanced compositions, even in the more conservative arena of illustration for advertising.

One of his early commercial clients was Kelly-Springfield Tires, which gave him the opportunity to combine his elegant draftsmanship with the clever, humorous copy depreciating the competition, thus often violating the rule against "negative" advertising. But Fellows' drawing and the copy had an edge of good humor that attracted a national following and the successful campaign lasted for many years.

In the thirties, Fellows gradually shifted his emphasis to fashion art, including both men and women, finding clients in Vanity Fair, Vogue, Cosmopolitan, The American Magazine, and McClure's. He also became a regular contributor to Apparel Arts magazine. 

With only a limited number of men's fashion artists available, Fellows was most in demand for the male-focused subjects, particularly by the newly launched Esquire magazine in the thirties, where he was regularly featured in full-color spreads for many years…”

"Unknown photographer: A Group of Young American Artists of the Modern School (from left to right: Jo Davidson, Edward Steichen, Arthur B. Carles, John Marin; back: Marsden Hartley, Laurence Fellows), c. 1911."

I long felt, before the blogoshpere revealed to me a few other sartorial history nuts,  that Alan Flusser was the only guy I could really talk to about a rather superficial subject that I'd somehow made erudite. Mighty-Mighty-Erudite. Surely you remember the Earf Wind and Fire song. And I've got a ton of books and periodicals over here in my shack. I'm perpetually curious about subjects sartorial and always eagerly assess new offerings on the subject. Where I would probably draw the line regarding additions to my sartorial library is technical manuals.I desire not, any tome that takes me through from a training perspective, the husbandry of fabric bolts from pattern guided cutting to the union of sleevehead and sleeve. Said union being probably the most important step in clothing gestation. That, and as Thomas Mahon shared with me...."getting that collar to hug nicely around ones shoulders and neck."

Ok, but back to sartorial tomes that interest me. I have a reference library that probably equals or bests most. I love some of the more erudite members of the ADG bookshelf including all of Flusser's well written volumes as well as in my opinion, the Flusser runner-up, Bernhard Roetzel. But in addition to erudition, I like picture books. Nothing's more fun than grabbing a less robust volume of visual goodies and having a ten minute gander between whatevers. So my sartorial shelf has a dose or two of more visually inclined sorbets to balance the robust and chewy volumes of information rich resources.Unfortunately, PREPPY: Cultivating Ivy Style fails on all fronts. The first person to offer me twenty bucks plus  a fin for shipping can have my copy. (That's $25.00 total... for you South Carolinians)

First, there's no new information nor is there a twist or two on the well known facts. Kind of like a new biography on Churchill or Robert E. Lee...the proverbial freaking topic has been done. And done. And done. However, there's always a new nugget or two to uncover that makes the narrative compelling enough right? I'd say so. But you won't find it here. Additionally, it's fraught with editorial oops. I thought for a moment that I was reading a pre-pub galley proof and then later concluded that the publisher was in a rush to get this thing to market. That "lived in preppy/trad threadbare look"

("oeuvre"...the entire body of work...the aggregate expression...for you South Carolinians)

"So it fails the reiterated in a cool/interesting way information/erudition test."

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