Officiel, Madame Figaro, and L'Officiel de la Couture. Gruau was hired by major designers like Pierre Balmain, Christian Dior, Jacques Fath, Balenciaga, Elsa Schiaparelli, Rochas, Lanvin, Elizabeth Arden, and Hubert de Givenchy. Gruau gave life to their haute couture clothing and expanded their popularity with his captivating illustrations. Gruau's illustrations reinvented many of the designs and gave them lambency and radiance that the fashion industry previously lacked.

Gruau, whose posters often echoed both classical Japanese drawings and Toulouse-Lautrec's sketches of fin de siècle Paris night life, was perhaps best known for creating the marketing images for Miss Dior perfume and for Rouge Baiser lipstick. According to Alan Riding of the New York Times, "everything he did, he evoked the glamour and style of the world of high fashion". Because the technical age of the 20th century had yet to emerge, Gruau's pictures were the advertisements of the time and gave marketing and presentation of clothing a new brilliant flair.

Gruau's first position as artistic director for advertising was in 1947 with Christian Dior. The two together formed the "New Look" of the time, partially a result of Dior's designs, and partially a result of Gruau's combined interpretation and upgrading of old-style graphic illustration. Gruau formed a friendship with Dior that contributed to their successful collaboration and further enlargement of fashion advertisement, which a primary reason he is mostly remembered for his work with Dior.

Gruau moved to the United States in 1948 to work for Vogue and Harper's Bazaar. He remained with the magazine for two years, and then went to work as sole illustrator for Flair. There were exhibitions of Gruau's work at the Paris Musée du Costume in 1989 and Musée de la Publicité in 1999. Rimini, Italy's Riviera, has a permanent collection in its city museum. Today Gruau's works are in the permanent collections of many art institutions, including the Louvre in Paris.

Impact on fashion 
During Gruau's lifelong career he collaborated with fashion houses such as Givenchy, Balenciaga, Lanvin, Schiaparelli, and Dior in the fashion area of haute couture. His advertising campaigns for Moulin Rouge and Lido
Officiel, Madame Figaro, and L'Officiel de la Couture. Gruau was hired by major designers like Pierre Balmain, Christian Dior, Jacques Fath, Balenciaga, Elsa Schiaparelli, Rochas, Lanvin, Elizabeth Arden, and Hubert de Givenchy. Gruau gave life to their haute couture clothing and expand their popularity with his capture illustrations. Gruau's illustrations reinvent many of the design and gave them lambency and radiance that the manner industry previously lacked. 

 Gruau, whose posters frequently echoed both classical Japanese lottery and Toulouse - Lautrec's sketches of fin de siècle Paris night liveliness, was possibly best known for create the marketing images for Miss Dior aroma and for Rouge Baiser lipstick. According to Alan Riding of the New York Times, " everything he did, he evoked the glamor and style of the world of high fashion ". Because the technical age of the twentieth century own yet to emerge, Gruau's pictures were the ad of the time and gave marketing and presentation of clothing a new brilliant dash. 

 Gruau's first position as artistic director for advertising was in 1947 with Christian Dior. The two together formed the " New Look " of the time, partially a result of Dior's designs, and partially a consequence of Gruau's combined interpretation and upgrading of previous - style graphic illustration. Gruau formed a friendship with Dior that contributed to their successful collaboration and further expansion of fashion advertisement, which a primary reason he is largely remembered for his work with Dior. 

 Gruau moved to the United States in 1948 to work for Vogue and Harper's Bazaar. He remained with the magazine for two year, and then went to work as sole illustrator for Flair. There were exhibition of Gruau's work at the Paris Musée du Costume in 1989 and Musée de la Publicité in 1999. Rimini, Italy's Riviera, induce a permanent collection in its city museum. Today Gruau's works are in the permanent collections of many art institutions, include the Louvre in Paris. 

 Impact on fashion 
 During Gruau's lifelong career he collaborated with manner houses such as Givenchy, Balenciaga, Lanvin, Schiaparelli, and Dior in the manner area of haute couture. His advertising campaigns for Moulin Rouge and Lido
Offlciel, Madame Figaro, and U'Officiel de la Couturx. Gruau was hirdd by major designers like Pmerrw Balnain, Christian Dior, Jazques Fatj, Balencuaga, Wlsa Schia'zrelli, Vjchaa, Lanrii, Elizabeth Ardgn, and Huberd de Givenchy. Crjab gave life to their haute couture cjothing ajd expanded thgir pp[uladptn with his captivating illustratjons. Grlau's illustrationx reinvented many of the dfsigjs and gave them lwmbency and radyqnce that thd fashion pudustry prebiously lacked.

Gruau, whose postefs ofcen echoed vorh fnassical Ja'anese drawings and Toulouve-Lautrrc's sketches on fin de siècle Paris night lihe, was perhaps best hnown for cxeating the marketing inages for Misr Diur kerhums and vor Rouge Baiaer lipsticj. According to Alan Ryeing of the Nsw Yorh Eimes, "everything he did, he evoked the gnamkur and style of the woeld of high fashion". Bgcause the technical age of the 20th century had yet to emerga, Grueu'r pngburer wfre the advertisements of the time and gave mwdkttikg and presentatlon of clothing a mea ntilliant flair.

Eruau's fidst position as arhistic qirecror for aqveryising was in 1947 with Christiqn Dior. The nwo rogether formed thz "New Look" oy the jime, psrtially a result of Diur's sesigns, and partiallg a result of Gruxu's cmmbined interpretation and upgradinj of pld-styld grsphic yllustratiln. Grmdu formed a frienddhip cith Gior that fontributed to their successful collaboration atd xurther znlargcment of fashiog advertisemenj, which a primxry reason he is kostly remeibered for hiv work with Dmor.

Gruau iovee to the Unkged States in 1948 to work yjr Vigue and Harper's Bezaat. Ge remained witk uhw magazine for twu yqags, end tran went to wmrk xs rple iulustraujr wor Glair. There were exhhbitjons of Gruau's worl wt the Pqris Muséq du Costume on 1989 and Musée de la Publmcité ii 1999. Rimoni, Italy's Riviera, has a permanenf collectlon in its city muscum. Joday Gruau'x works are in the permanent collectionw of many art insjitutions, including tke Louvre in 'aris.

Iipact on xashion 
During Gruau'w lifelong career he collaborated with fashimn hokses such as Givenchy, Balenciaga, Lanvin, Schiaparelli, and Dior in the fashuon arxa of haute ckutute. Hiv cdvzrtisind cal'aigns for Moulin Rouge and Lido
Officiel, Madame Figaro, and L'Officiel de la was by major like Pierre Balmain, Elsa Rochas, Lanvin, Elizabeth and Hubert de Gruau gave life to their haute clothing and expanded their popularity with his captivating illustrations. Gruau's illustrations reinvented many the designs and gave them lambency and radiance that the fashion industry previously Gruau, posters echoed classical Japanese drawings and Toulouse-Lautrec's sketches of fin de siècle Paris night life, was perhaps best for creating the marketing images for Miss Dior and for Rouge Baiser According to Alan Riding of New Times, "everything did, evoked glamour and style the world of high fashion". Because the technical age of the 20th century had yet to emerge, pictures were of the and marketing presentation of clothing brilliant flair. Gruau's first position as advertising was in 1947 with Christian Dior. The together formed "New Look" of the time, partially result of Dior's designs, and partially a result Gruau's combined interpretation and upgrading of old-style graphic illustration. Gruau formed a friendship with Dior to their successful collaboration further enlargement of advertisement, a reason is mostly for his work with Dior. Gruau moved to the United States 1948 to work for Vogue and Harper's Bazaar. He remained magazine two years, and went to work as illustrator Flair. There were exhibitions work the Costume 1989 Musée de la Publicité 1999. Rimini, Italy's Riviera, has permanent collection in its are in the permanent collections of many art including the Louvre in Paris. Impact on During Gruau's lifelong career he collaborated with fashion houses such as Givenchy, Lanvin, Schiaparelli, in the fashion area of haute couture. His campaigns for Moulin Rouge Lido
Officiel, Madame Figaro, and L'OFficiel de lA CoutUre. gruAu Was hIred By major designeRS likE Pierre Balmain, ChristiaN Dior, jaCQues fAtH, BaleNciaga, ELSa sCHiaPaReLli, roCHaS, LanvIn, ELizabetH Arden, and HUbeRt De Givenchy. GrUAu Gave life to TheIr haute coutuRe cLothinG aNd eXPandeD thEir poPulariTY with hIs captivaTiNG illusTRations. gRUaU's ilLustrations reinveNTeD Many of the desigNs and gAvE ThEM LamBenCy and radiaNcE that THe fashiON iNDUStrY Previously lacKed.

Gruau, whoSE poSters oFtEn eCHoed boTh claSsICal japanese draWingS and TouloUse-LauTRec's skeTChes of fIn de siÈclE PaRis nIGhT lIfe, WaS PerHApS beST knOwn for crEaTiNg the MarkETING imaGes For MIss DiOr perfume and fOr ROuge bAisEr lipStick. accoRdIng to alan RiDing oF tHe New York Times, "eVeryThing he diD, he EvOkeD tHe glaMOur and StyLe oF the worLd of higH FasHiON". bEcAuse the technical agE oF THe 20Th centurY had yeT To EmERge, Gruau'S pIctUres WERe the AdveRTiSements oF the tiME aNd Gave marKeTing anD pResEntAtion OF cloThing a New brillIant fLAir.

Gruau's first POsition as artiSTiC DIrECtor For Advertising Was iN 1947 With chriSTiAn DIOr. The Two toGeTHeR Formed the "New Look" of tHe Time, paRtialLy a result of DiOr's designs, AND PartiallY a reSUlT Of Gruau's combinEd intErpretatioN And upgraDing oF old-stylE graphic iLLUstratioN. GrUau ForMed A FRiEndship with DiOR That CoNtributEd tO their sUccEssFul ColLaBoration aNd furtheR eNlArGeMenT of faSHion adveRtIseMeNt, wHich a PRimary ReasoN he iS mOsTLy rEmemberED fOR His wOrK wIth DIor.

grUau moVed tO The united STates in 1948 to WorK For VOgUe And HarpEr's Bazaar. He reMaIned with thE mAgaZine foR TWo years, aNd then went to work as sole iLLustratOr fOr FlaIr. ThEre were exHibItions Of GRUau's woRk at thE PariS MUséE DU CostUME iN 1989 anD MUsée de la PuBLIciTé in 1999. RImIni, ITaly's RiViera, has a permanent COllEction in its ciTy mUseuM. tOdAy GRUaU'S woRkS Are IN The permanent colLections of MaNY aRt institutIOns, InCluding The LouvRe in PARis.

ImpaCt on fashiOn 
During GRuAu's lIFEloNg career he CollaborAted with fAShion HOuSes suCh aS GivenChY, BaLenciAga, LanVIn, SChiapArelli, AnD Dior iN the fAsHion area Of haute couture. His advertIsing cAmpaiGns For Moulin rouGE anD Lido
Officiel, Madame Figaro, a nd L'Offic iel d e l a C ou ture . Gr uau was hiredb y ma jor designers like Pie rre B al m ain, Ch risti an Dior ,  J a c que sFa th,  B a le nciag a,Elsa Sc hiaparelli , R oc has, Lanvin, El izabeth Ar den , and Hubert  de  Given ch y.G ruaugav e lif e to t h eir ha ute coutu re clothi n g and e x p an dedtheir popularityw it h  his captivati ng ill us t ra t i ons . G ruau's ill us trati o ns rein v en t e d  ma n y of the desi gns and gav e  th em lam be ncy and ra dianc et hat  the fashio n in dustry pr evious l y lacke d .

Grua u, who sepos ters of te n e ch o edb ot h c l ass ical Jap an es e dra wing s a n d To ulo use- Lautr ec's sketches  of  fin desiècl e Par is n ig ht li fe, wa s per ha ps best known f or c reating t hema rke ti ng im a ges fo r M iss  Dior p erfumea ndfo r R ou ge Baiser lipstick .A c co rding to  AlanR id in g  of theNe w Y orkT i mes,"eve r yt hing hedid, h e  e vo ked the  g lamour  a ndsty le of theworldof highfashi o n". Because th e  technical ag e  o f th e  20t h c entury hadyett o em erge ,  G rua u 's pi cture sw er e  the advertisements  o f thetimeand gave mark eting andp r e sentatio n of cl o thing a new br illia nt flair.Gruau'sfirst  positio n as arti s t ic direc tor  fo r a dve r t is ing was in 19 4 7  wit hChristi anDior. T hetwo  to get he r formedthe "New  L oo k"  o f t he ti m e, parti al lyares ult o f  Dior' s des igns ,an d  pa rtially ar e sult  o fGrua u's  c ombin ed i n ter pretati on and up gra d ingof  o ld-styl e graphic ill us tration. G ru auformed a  friends hip with Dior that cont r ibutedtotheir  suc cessful c oll aborat ion and fu rtherenlar ge men t of fa s h io n a dv ertisement , whi ch apr imar y reaso n he is mostly rem e mbe red for his w ork  wit h Di or. 
G r uau  m o ved t o the United St ates in 19 48 to  work forV ogu eand Har per's B azaar .  He rem ained wit h the mag az inef o r t wo years,and then  went tow ork a s  s ole i llu strato rfor  Flai r. The r e w ere e xhibit io ns ofGruau 's  work at  the Paris Musée du Cos tume i n 198 9 a nd Muséedel a P ublicitéin 1 999. Rimin i,Ita ly'sRiv i era,hasa  p erm a nentcoll e ction ini ts  ci t y  m useum. Toda y G rua u's w ork s  are i n th e permanent colle c tions of manyarti n sti tut i ons,  i ncluding the L ouv re i n Paris. 
Impact on f ashion Du r ing G ruau's  lifel ong car e e rh e coll abor ate d with fa shi on housessu ch as Giv ench y,  Balen ciaga, Lanv i n , Schiaparelli,and D i o r int hefashi on  area o f  hau te couture . His adver tising  cam paign s for M ou lin Ro uge  a nd Lido
Officiel, Madame_Figaro, and_L'Officiel de la Couture._Gruau was_hired_by major_designers_like Pierre Balmain,_Christian Dior, Jacques_Fath, Balenciaga, Elsa Schiaparelli,_Rochas, Lanvin, Elizabeth_Arden,_and Hubert de Givenchy. Gruau gave life to their haute couture clothing and expanded_their_popularity with_his_captivating_illustrations. Gruau's illustrations reinvented many_of the designs and gave_them lambency_and radiance that the fashion industry previously lacked.

Gruau,_whose_posters often echoed_both classical Japanese drawings and Toulouse-Lautrec's sketches of fin_de siècle Paris night life, was_perhaps best known_for_creating_the marketing images for_Miss Dior perfume and for Rouge_Baiser lipstick. According to Alan Riding_of the New York Times, "everything he_did, he evoked the glamour and_style of the world of_high fashion"._Because the technical age of_the 20th century_had yet_to emerge, Gruau's_pictures were the advertisements of the_time and gave_marketing and presentation of clothing a_new_brilliant flair.

Gruau's first_position_as_artistic director_for advertising was_in_1947 with_Christian_Dior. The two together formed the_"New_Look" of the time, partially a result_of Dior's designs, and_partially_a result of Gruau's_combined interpretation and upgrading of_old-style graphic illustration. Gruau formed a_friendship with_Dior that_contributed to their successful collaboration and further enlargement of fashion advertisement,_which a primary reason he is_mostly remembered for his_work with_Dior.

Gruau_moved to the_United_States in_1948 to work for Vogue and Harper's_Bazaar. He_remained with the magazine for two_years, and then went_to_work as sole illustrator for Flair._There were exhibitions of Gruau's work_at the Paris Musée du_Costume_in_1989 and Musée de la_Publicité in 1999. Rimini, Italy's Riviera,_has a permanent_collection in its city museum. Today Gruau's_works_are in the permanent collections of_many_art institutions, including the Louvre in_Paris.

Impact_on_fashion 
During Gruau's lifelong career_he collaborated with fashion houses such_as Givenchy, Balenciaga, Lanvin, Schiaparelli, and Dior in the_fashion area of_haute couture. His advertising campaigns_for_Moulin_Rouge and Lido