Gianni Versace, Autumn/Winter campaign, Anonymous Model, 1984.

Norma Kamali campaign, Anonymous Models, 1985.

Oscar de la Renta campaign, Anonymous Model, 1986.

Missoni Spring/Summer campaign, Anonymous Model, 1985

Missoni campaign, Anonymous Models, 1984.

"Fluid Options" campaign for Bloomingdales, Anonymous Model wearing Juniors, 1983

"Fluid Options" campaign for Bloomingdales, Anonymous models wearing Oscar de la Renta, 1983

Versace Autumn/Winter campaign, Anonymous Model, 1982

Versace Autumn/Winter campaign, Anonymous Models, 1982

"Estate 1982 Mare-previsione" editorial for Vanity, Anonymous Model wearing Miguel Cruz, Alma, April 1982.

"Sportmax: Mantelli a Ruota in Colori Flourescenti" editorial for Vanity, Anonymous Model wearing Sportmax, October 1983

"High Dandy" editorial for Vanity, Mike Haire wearing Elsa Peretti for Tiffany, October 1982

"High Dandy" editorial for Vanity, Mike Haire wearing Paloma Picasso for Tiffany, October 1982

"Karl Lagerfeld per Chloe" editorial for Vanity, Paloma Picasso wearing Karl Lagerfeld for Chloe, Ugo Correani, Omsa, Santini & Dominici, October 1983.

"Pretty Things are Happening" editorial for Vogue, Anonymous Model, c. 1982

"Controvento Controsole" editorial for L'uomo Vogue, Anonymous Model wearing Helena Rubinstein Melanin Suntan Accelerator, Solar Shield Cream, After Sun Soother. c. 1981

Vogue Japan Spring/Summer Knit Fashion Now, Anonymous Models, 1981

Soen Magazine editorial, Jane Forth, 1973

Vanity Special Edition for Italian Vogue, Anonymous Model wearing Mario Valentino, September 1981.

Vogue Japan editorial, Liliana Cavendish, c. 1977

Mrs. Magazine, Anonymous models, c. 1977

Blueboy editorial, Juan Ramos, September/October 1976

Vogue Japan Knit Fashion Now, Anonymous Model, Spring/Summer 1976

"Les pieds..." editorial for French Vogue, Marisa Berenson, August 1976.

Playboy Japan, Christine Walton and Carol Labrie, 1971

"L'esercito delle vacanze" editorial for L'uomo Vogue, Jean Pierre wearing American aviation trousers, military jacket, military trousers, unlabeled motorcycle pants, 1970

"Hechter vous aime comme ça," editorial for Daniel Hechter, Anonymous Models, 1970

"Bringing Out The Real You" editorial for New York Times Magazine. Donna Jordan, June 1969

"Sens Dessins Dessous" editorial for Elle Magazine, Anonymous Models wearing Peter Pan for Eres, Emmanuelle Khanh for Erys, Schrieber-Hollington, April 1969

Elle Magazine cover, Susan Baraz wearing Michele Rosier for V de V, Edward Mann, Magoo, Fouks, Zaza, M.G. Store, March 1967

Lejaby advertisementl, Anonymous Model, c. 1967

Lejaby advertisementl, Anonymous Models, c. 1967

"The Real Red..." editorial for Harper's Bazaar, Anonymous Model wearing Cisa, July 1967

"The Real Red..." editorial for Harper's Bazaar, Anonymous Model wearing Cabot, July 1967.

"The Real Red..." editorial for Harper's Bazaar, Anonymous Model wearing Amalfi, Howard Wolf, Jane Irwill. July 1967.

"Long and Lean" editorial for Fashions of the Times / The New York Times Magazine. Anonymous model wearing Evan-Picone. August 27, 1967.

"Aviator's Coat," Fashions of the Times / The New York Times Magazine. Anonymous Model wearing Clobber Clothes. August 27, 1967

Connie Shoes advertisement, Anonymous Model, 1967.

"Mini Pants" editorial for Fashions of the Times / The New York Times Magazine, Anonymous Model wearing Sportwhirl, February 26, 1967

"Chocolate Brown" editorial for Fashions of the Times, Anonymous model wearing Chuck Howard for Townley, March 1966

"Checkerboard Plaid," Fashions of the Times / The New York Times Magazine, Anonymous model wearing Ohrbach's, Luba for Elite Juniors, March 1966

"Dashing Leather" editorial for Fashions of the Times / The New York Times Magazine, Anonymous model wearing Lane Bryant. March 1966

"Shiny Vinyl" editorial for Fashions of the Times / The New York Times Magazine, Anonymous Model wearing P.R.L. All Purpose, March 1966

"White Orbit" editorial for Fashions of the Times / The New York Times Magazine, Anonymous Model wearing H.V.H. for Gloveshire, August 1965

"Rain Struck" editorial for Fashions of the Times / The New York Times Magazine, Anonymous model wearing Naman, August 1965

"Held Up" editorial for Fashions of the Times / The New York Times Magazine, Anonymous model wearing Rikki for Sport Trio, Young Individualis, August 1985

"Fireside Tent" editorial for Fashions of the Times / The New York Times Magazine, Anonymous model wearing Junior Sophisticates, August 1965

"City Walker" editorial for Fashions of the Times, Anonymous model wearing Junior Scene, August 1965

"Mad Whirl" editorial for Fashions of the Times / The New York Times Magazine, Anonymous model wearing Frank Adams for Junior Accent, March 1965

"Origin USA," Fashions of the Times / The New York Times Magazine, Anonymous Model wearing Edie Gladstone for Deebs, March 1965

"White Streak" editorial for Fashions of the Times / The New York Times Magazine, Anonymous model wearing Alexander's, March 1965

"Rain Quilt" editorial for Fashions of the Time / The New York Times Magazine, Anonymous Model wearing Junior Sophisticates, August 1964

"Fireside Sweater" editorial for Fashions of the Time / The New York Times Magazine, Anonymous Model wearing Frank Smith for Evan Picone, August 1964

"Suede Fur Lined," Fashions of the Times / The New York Times Magazine, Anonymous model wearing Grey Room, 1963

"Great Coat in White" editorial for Fashions of the Times / The New York Times Magazine, Anonymous model wearing Deanna Littell for Harold Goldstein, 1963

From 1961 until 1987, Antonio and Juan created a vibrant body of work that helped usher in a dynamic new era in high fashion. Working as a team, Antonio created the drawings and paintings with his masterful, adept hand, while Juan served primarily as Art Director and influenced the art work with his deep knowledge of color theory, spatial design, and art history. Together, they continously innovated, with an always distinctive but versatile style.
Simultaneous to their professional practice, the duo produced an oeuvre of personal work that celebrated the diverse community around them and documented a stunning evolution of the queer urban man throughout the second half of the 20th century.
This selection of original works in The Antonio Archives offers an overview of Antonio and Juan’s collaborative practice throughout the years. Included below are unfinished studies, completed editorial and commercial pieces, and personal drawings and painting.
SELECT PUBLISHED WORK
SELECT PERSONAL WORK
The Antonio Archives houses an extensive collection of tear sheets from the 1960s through the 1980s that provide researchers, curators, and fashion enthusiasts a look at the historical context of Antonio and Juan’s original drawings.
Spanning three decades, the tearsheets trace the evolution of fashion through the late 20th century as styles radically shifted and the depiction of women in media took a bold new direction in its portrayal of beauty, sexuality, and gender.

The Antonio Archives uses tearsheets as a valuable tool to date, catalogue, and identify works, in addition to creating a comprehensive inventory of works no longer in our possession. If you have tearsheets that you would like to donate to the archives, please be in touch via our Contact page
SELECT TEARSHEETS
Antonio and Juan’s influence as arbiters of style extended well beyond their celebrated two-dimensional work. They ventured into designing concept drawings and prototypes for garments, shoes, jewelry, textiles, and more.
Beginning in the 1970s and continuing through the 1980s, they collaborated with iconic brands such as Fiorucci, Shiseido, and Bloomingdale’s, lending their expertise to merchandising, advertising, and packaging design, as well as producing a never-realized line of eponymous scarves for the Japanese market.
SELECT TEXTILE + CONCEPT DRAWINGS
In addition to a broad collection of artwork, The Antonio Archives houses sketches, correspondence, personal items, and rare materials that provide insight into Antonio and Juan’s process, inspiration, and creative collaborations.
SELECT EPHEMERA

In the early 1970s Antonio began experimenting with a Kodak Instamatic camera to document the glamorous people and exotic places around him.
In addition to his portrait studies and reportage assemblages, Antonio began several series that used a prop or location as an ongoing motif; a plastic sheet obscuring the face, a body partially submerged in water, or a sculptural red coat appear regularly in this extensive body of work.Inspired by the rapid pace of photography, Antonio often shot numerous frames of a single subject and later curated the resulting photographs into a 3 x 3 grid composition, creating nuanced portraits of his models and friends.
Unlike the commercial work for which he and Juan were known, the Kodak Instamatics created during Antonio’s lifetime were mostly personal and were often created without any editorial or commercial intent.
SELECT INSTAMATICS
Antonio began experimenting with a Polaroid SX-70 camera during the late 1970s and early 1980s. Much like his other photographic work from this time, the Polaroids that Antonio created were a mix of behind-the-scenes documentation, portraiture, and everyday still lives that were largely personal in nature

In 1979 Antonio and Juan hosted the legendary “Photo Cocktail Party” at the Robert Freidus Gallery in New York City. In the spirit of the artistic “happening”, party-goers were invited to pose in front of a gray backdrop for a large-format Polaroid camera. The resulting images were installed directly onto the gallery walls as the night progressed to document the ephemeral party experience in real time.
SELECT POLAROIDS
Unlike the commercial work for which Antonio and Juan were known, the photographs created during their lifetime were mostly personal in nature and were often created without any editorial or commercial intent.
However, at times, the Antonio and Juan used the photographs as objects, layering them into collage - both personal and professional.
SELECT COLLAGE
Antonio and Juan produced several books during their lifetimes including Antonio’s Girls (Congreve, 1982) , and Antonio’s Tales from the Thousand and One Nights (Stewart, Tabori & Chang, 1985).
Following Antonio’s death in 1987, Juan edited Antonio 60, 70, 80 (Thames & Hudson, 1995) which provided a retrospective look at their thirty year collaborative career.
In the years since, The Antonio Archives has partnered with publishers and institutions to produce numerous monographs and catalogues that provide deeper insight into the life and career of Antonio and Juan.
BIBLIOGRAPHY