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30 Fashion Illustrators You Cant Miss The fashion illustrators we loved the most over the past year.

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1) Paperfashion, based in Boston, US

athryn !lyse "od#ers is $urrently wor%in# as an apparel desi#ner for "ee&o% in 'oston. (he is a passionate) $reative thin%er and e*$ited a&out her future and present. I love her way in e*pression the details of outfits so mu$h) its interestin# and full of te*ture+

2) George Stavrinos, based in NY, US (1948 199!)

,eor#e (tavrinos was an ama-in# artist who s%et$hed those fa&ulous 'er#dorfs ads in the .ew Yor% Times. I found the realism of his fashion fi#ures refreshin#. (adly) the #reat (tavrinos passed away in /000 at the youn# a#e of 12 due to $ompli$ations from pneumonia.

") #aro$ine %ndrie&, based in Paris, 'ran(e

3s an art dire$tor in 4o#ue.fr for 5 years) Caroline has naturaly &een influen$ed &y her wor% and universe. (he is fas$inated &y drawin# and realisti$ outlines) has $ontri&uted

to ma#a-ine su$h as 4o#ue) The 6u&) (o Chi$) wor%ed with youn# &rands as ,at "imon or 7op Cph) and re#ularly $ontri&utes to 8iesel Fra#ran$e Fa$tory we&site.

4) %nna )iper, based in NY, US

3nna iper is a leadin# .ew Yor% City &ased fashion desi#ner and professor at the 9(3s two most presti#ious fashion $olle#es) the Fashion Institute of Te$hnolo#y and the 7arsons ($hool of 8esi#n. 6er wor% has &een widely pu&lished in &oo%s and ma#a-ines) and her illustrations have &een e*hi&ited at hi#hly respe$ted venues in 9(. "e$ently) her new illustration &oo% :Fashion Illustration ; Inspiration and Te$hni<ue= has &een pu&lished.

*) %&t&+n ,hiteh&rst, based in NY, US

3utumn >hitehurst #rew up in .ew ?rleans and now resides in 'roo%lyn .Y as a full time illustrator. (hes done advertisin#) editorial wor%) and C8 $overs for a list of $lients whi$h in$lude !$%o "ed) 3meri$an !a#le ?utfitters) 7en#uin 'oo%s) 'ritish and 3meri$an !lle) .ylon Ma#a-ine) 88') and Crush 8esi#n amon#st others.

-) #onnie .i+, based in .ondon, U)

Connie @ims dar% and mysterious wor%s have totally $aptured my eyes. 6er Illustrations are a&solutely &eautiful and she &elieve dar%) mysterious and somewhat

se*ual are the <ualities she $an use to des$ri&e women.) presented a&ove are the dopest set of $ards in the world.

/) %&dre0 )a,asa1i, based in .os %nge$es, US

3udrey awasa%i is #ood at paintin# with oils and #raphite dire$tly on wood panels) &rin#in# une*pe$ted warmth to her $ompositions. >ithout e*$eption) 3udreys $hara$ters seem melan$holi$) $aptive in their own sensuous) dreamy universe) yet a$$essi&le and ready to &e unraveled.

8 ) 2rin petson, based in .ondon,U)

3n 3rtist and Illustrator) !rin wor%s at the $uttin# ed#e of traditional and mi*ed media. 6er love of drawin#) mar% ma%in# and monta#e $reate powerful and provo$ative ima#es.6er su&Ae$ts have a mysti$al ener#y that is ethereal and ed#y.

9) S0$via 3i, based in .os %nge$es, US

>ith an artisti$ family) (ylvia Bi have &een influen$ed &y &oth her mother and fathers paintin#s and s%et$hes. Fo$usin# espe$ially on feminine fi#ures) (ylvia e*plores &eauty) sensuality) so$ial notions in provo$ative $aptivatin# artwor%s. (ome of her heroines are

sym&oli$ refle$tions of her) others are fi$tional fi#ures) Au*taposed with mysti$al lands$apes) all &urstin# into passion and de$ay.

1!) Spiros 4a$aris, based in .ondon, U)

(piros is a #raphi$ desi#n #raduate from Middlese* 9niversity. 6e wor%s with various te$hni<ues usin# $olla#es) hand drawn as well as di#ital elements. Most of his ima#es em&ra$e emotions) human elements and fashion. 6e has wor%ed for various fashion pu&li$ations in$ludin# Company) (wide &y 8C, and The 6u&) and has featured in a num&er of illustration &oo%s.

11) %+e$ie 4egardt, based in Sto(1ho$+, S,eden

'leedin# in% and splashes of water definitely a trademar% of 3melie 6e#ardts illustratior. (he is &ased in (to$%holm and her wor% is ama-in#. (he s%et$hes for ma#s su$h as !lle) Ma*i) Madame) 7la-a and ,lamour. 3t this point we should pro&a&ly also mention her advertisin# for Ma$ Cosmeti$s and 9m&erto ,iannini.

12) .ovisa B&rfitt, based in Paris, 'ran(e

Fashion desi#ner and illustrator @ovisa 'urfitt lives and wor%s in 7aris sin$e 2002. (he made some #reat window art for 6CM and wor%ed for other $lients as 'loomin#dales) en-o) 3&solut 4od%a) @e Ciel 'leu in To%yo and ma#a-ines as 4o#ue) !@@!) (unday

Times) T6!D!.8) Fashion Tale) Mil% and Costume. 'eside the illustrations she also desi#ns for her own $lothin# la&el 'urfitt in 7aris 2003 where her illustrations are a &i# part of the $on$ept. Its artful+

1") 5artine 3ohanna, based in %+sterda+, Nether$ands

Martine Bohannas wor%s are a $om&ination of multiple feelin#s) sensations) and personal e*perien$es. (he finds inspiration in the vastest of $ultural) histori$al and mytholo#i$al &a$%#rounds she never $eases to e*plore.

14) 5i0&1i 6hashi, based in 7o10o, 3apan

Miyu%i ?hashi is a Bapanese illustrator) depi$tin# #lamorous women is simple stro%es. 6er style is uni<ue and her artwor% is truly ama-in#.

1*) 3&$ie 8erhoeven, based in .ondon, U)

Im en$hanted with artist Bulie 4erhoeven allurin# and provo$ative illustrations. The @ondon &ased fashion desi#ner and illustrator has $reated wor% for &i# &rands in$ludin# @ouis 4uitton) 4ersa$e and 6CM. 'e#innin# her $areer assistin# Bohn ,alliano) she &e$ame a desi#ner in her own ri#ht with her la&el ,i&o &y Bulie 4erhoeven.

1-) #assandra 9hodin, based in Sto(1ho$+, S,eden

Cassandra "hodin is a (wedish fashion illustrator that loves to draw &old) $hi$) sensual women inspired &y the i$oni$ style of the roarin# 20s and &y silent movie sirensE thin) elon#ated &eauties with smo%y smolderin# eyes) pouty lips and 7arisian flair.

1/) Patri(1 Nage$,.os %nge$es, US (194*:1984)

.a#el illustration is simple and streamlined) &ut .a#els woman is $ompli$ated ; whi$h is the %ey to her su&liminal appeal. (he wants attention) sometimes flauntin#ly) &ut remains distant. (he appears intelli#ent) selfFpossessed) &ut removed. .a#el often said that he didnt really want to %now these women too well. 6e ima#ined them as $reatures of the ni#ht who dran% and smo%ed too mu$h.

18) #ar$ 2ri(1son, based in NY, US (1891

19*8)

@eadin# fashion and advertisin# artist) espe$ially well %nown for this wor% for 4o#ue and $osmeti$s. !ri$%son) indeed) is a hardFwor%in# man) a very serious artist who is

usually pra$ti$in# when not a$tually performin#. For every pie$e of wor% reprodu$ed in the ma#a-ines he has made do-ens of studies. In spare moments he is usually &usy drawin# or paintin# from the model ; he never draws without a model ; and his s%et$h&oo% #oes with him to the restaurant and the theatre.

19) )e$$0 S+ith, based in 7as+ania, %&stra$ia

elly (mith is a freelan$e Illustrator and she #raduated in 200G with a 'a$helor of Fine 3rts from the Tasmanian ($hool of 3rt C has sin$e #one on to pursue a $areer in &oth portrait C fashion illustration.

2!) %nna 4iggie, based in Bar(e$ona, Spain

3nna 6i##ie mi* $ontemporary art with vinta#e influen$es) nota&le te$hni$al s%ills. The #ra$e) youth and style) &old #raphi$ a&stra$tion and honest $urves on ed#es of eyes) shoulders and fa$es $ele&rate the human form.

21) #ata$ina 2strada, based in Bar(e$ona, Spain

'orn and raised in Colom&ia) and livin# in 'ar$elona sin$e /000) Catalina &rin#s all the $olors and power of @atinF3meri$an fol%lore and refines it with a su&tle tou$h of !uropean sophisti$ation. (ome of her $lients in$ludeE 7aul (mith) Co$aFCola) (ony Musi$) Camper) .i%e) @evis) (martDMer$edes 'en-) 9ni$ef) Motorola) Chroni$le 'oo%s) Hara 6ome) amon# many others.

22) #o(o pit, based in .ondon, U)

Co$o finds inspiration in a wide variety of pla$es. @ivin# &etween 7aris and @ondon she feels at ease with the visual lands$apes of &oth $ities ; as art and fashion $apitals) they are a &yword for innovation) $reativity and metropolitan ed#e. (he li%es to mi* several te$hni<ues &ut aims for restraint and minimalism in the finished wor% as she li%es the results a$hieved from $om&inin# these two approa$hes.

2") 5aren 2sdar, based in 4a+b&rg, Ger+an0

,erman illustrator Maren !sdar was edu$ated &oth as a stylist and illustrator in 6am&ur# and @ondon.6er ori#inal) surreal and stylish mi*ed media $olla#es) $omposed &oth &y hand and $omputer are her i$oni$ wor%. (he has &een pu&lished in 4o#ue) >) .Y Times) !s<uire and (urfa$e amon#st others.

24) 3ennifer B&s1ing, based in %+sterda+, Nether$ands

Bennifer 'us%in# is a talented) youn# fashion illustrator from .etherlands who studied fashion desi#n. 6er $hara$ters are Mysterious and share a stron# $onne$tion with

wildlife) impe$$a&ly drawn with thin pens and pen$ils finished &y deli$ate water$olor stro%es on paper.

2*) 8ita Yang, based in 7ai,an

4ita Yan# holds a '3 de#ree in .ational Taiwan 9niversity of 3rts in 4isual Communi$ation 8esi#n. 6er illustration wor%s $an &e seen in 4o#ue Taiwan) The 'i# Issue Taiwan) !lle Taiwan. 3lso she has $olla&orated with .I,?s 69M3. M38!) illustrated for the 20// (( $olle$tion on the offi$ial we&site. (eries wor%E :This is why I miss @ondon so mu$h.= was awarded of .I,? 7ri-e and also $hosen wor% of 3meri$an Illustration 30.

2-) 3a+es 4a+i$ton B&t$er, based in 5an(hester, U)

!n#lish artist Bames 6amilton is already adept in a variety of $reative media from $ostume) em&roidery and fashion desi#n) as well as a num&er of printF&ased illustration $ommissions from &oth $orporate $lients and individual illustration $ommissioners in$ludin# (warovs%i.

2/) '$e&r van +aars(ha$1er,aart, based in %+sterda+, Nether$ands

The loose way of Fleur van maars$hal%erwaarts illustrations te$hni<ues is $ool and its

$reative that some of the drawin#s are usin# thread as the media. Its artisti$. 6er wor%s had &een e*hi&ited in 3msterdam) 7aris and .ew Yor%.

28) 5arg&erite sa&vage, based in Paris, 'ran(e

Mar#uerite (auva#e has wor%ed sin$e 200/ as an illustrator) art dire$tor and animator $reatin# $hi$ modern illustrations that $apture the lifestyle of todays trendsetters. >ith illustration that is stylish yet a$$essi&le) she has &een in demand with prominent advertisin# and $orporate $lients in$ludin# 7lay(tation) 3pple) Marshall Fields) Motorola or ?ran#e.

29) )at0 S+ai$, based in NY, US

T (mail is a ($ottish illustrator who #raduated from !din&ur#h Colle#e of 3rt with a First $lass de#ree in Illustration. (he now lives in .ew Yor% where she $ontinues to draw tra#i$ #irls with &ro%en hearts) faraway lovers and dusty dressesI.

"!) Pa&$ ;ribe, based in 'ran(e (188":19"*)

6is wor%s in the po$hoir te$hni<ue #reatly appealed to the $outurier &e$ause their simple lines and &road) flat) a&stra$t e*panses of &ri#ht $olor perfe$tly $aptured the simple !mpireFstyle dresses he was then %nown for. :@es "o&es de 7aul 7oiret=) the resultin# pu&li$ation) was hi#hly influential) and &rou#ht Iri&e #reat fame) as well as

numerous additional re<uests from other desi#ners) in$ludin# Co$o Chanel) Beanne @anvin) Beanne 7a<uin) the Callot (oeurs and Ba$<ues 8ou$et) for whom he was as%ed to rede$orate his apartment in the newly fashiona&le 3rt 8e$o style. ; Fashionary 'lo#J 30 Fashion Illustrators You Cant Miss 7art 3 This is a sele$ted news. !very wee% we sele$t the &est arti$les a&out $reative fields. You $an see the ori#inal sour$e here ; 'e$ome a fan of ,lossom on Fa$e&oo%. Follow us on Twitter and Tum&lr httpEDDwww.$uded.$omD20/3D03D50F&eautifulFfashionFillustrationsD httpEDDfashionary.or#D&lo#D30FfashionFillustratorsFpartF/DKmoreF22L

How to Draw Fashion Illustrations by Heather


Thursday) Bune /1) 20/2 6ey #uys+ IMm 6eather 3nderson. I &lo# a&out fashion) hair) &eauty) and art over at @atter 8ay (tyle. !laine was ni$e enou#h to let me #uest post and tea$h you #uys more a&out fashion illustration. @i%e you #uys) I love Clothed Mu$h. IMve &een followin# the &lo# for a while and love !laineMs polished) yet rela*ed style. >hen puttin# this post to#ether) I %new I wanted to feature some of !laineMs outfits. I was plannin# on Aust $hoosin# three) &ut I $ouldnMt de$ide.. There were too many #ood ones and I ended up with ten loo%s+ "ead on to learn more a&out fashion illustration. NOPP aOPP sr$OPhttpEDDfarm0.stati$fli$%r.$omDQ0/5DL/QG3QQ3LGR1f$2ee000dR-.Ap#PS My des% 7oo$s

7en$il) sharpener) eraser Color medium T$olored pen$ils) mar%ers) #oua$he) paint) et$.U 'la$% pen 7aper T$omputer paper) tra$in#) or vellum paperU

2<tras

?val sten$il) $ir$le sten$il) Fren$h $urved ruler) or standard ruler >hite out pen and #el pens 9tility %nife 8rafterMs &rush Clothin# $atalo#) pi$tures to draw from) referen$e &oo%s 7risma$olor mar%ers) $olored pen$ils) Mi$ron pens for outlines

Drawing the Fashion Figure

3dd the &asi$ landmar%s) head) shoulders) waist) hips) %nees) el&ows...

Conne$t the dots.

8raw the &asi$ fi#ure.

Transfer the ima#e. Most fashion illustrations are &ased on the standard 0 heads proportion) even thou#h most people are only L heads. >hat this means is the total hei#ht of the fi#ure $an &e divided into 0 e<ual parts. !ven if you dont plan on drawin# your fashion fi#ures &ased on the standard fashion template) it is still important to first understand the human &ody) how it moves) and how it is shaped so you $an $reate realisti$ and artisti$ s%et$hes. ,ather pi$tures and $atalo#s. Its also a #reat idea to ta%e a fi#ure drawin# $lass) and pra$ti$e) pra$ti$e) pra$ti$e. ?nly after you have mastered the &asi$ fashion fi#ure $an you move on to ma%in# it your own.

Stylization

(our$es from @F"E twopeasina&u$%et.$om) fashion.tele#raph.$o.u%) a&&yai&.&lo#spot.$om

3fter masterin# the fashion fi#ure) ea$h illustrator finds their own style. It is important to have your uni<ue loo%E may&e &i# eyes is your trademar% or a tiny waist or spindly lon# le#s. The point here is to try new thin#s until you find what wor%s for you. My illustrations have #one throu#h a few $han#es over the years) and sometimes I even twea% my loo% to mat$h my audien$e. I have $ome to li%e my fi#ures) whi$h are shorter than most illustrations) to have &i##er heads) hips) and lon# le#s. There are lots of wonderful fashion illustrators. 'e inspired &y them) &ut stay true to your art and always %eep it ori#inal. 3&ove are some samples from a few of my favorite illustrators. .oti$e what $han#es ea$h made on their fashion fi#ures.

Sketching Your Design


3fter de$idin# how your fashion fi#ures will loo%) it is important to ma%e a master $opy of this fi#ure. I outline it in &la$% permanent mar%er) and if I am doin# <ui$% s%et$hes or a $olle$tion) I pla$e the master $opy underneath my new &lan% pie$e of paper. I then draw my $lothes with the li#ht outline of the &ody as a #uide. 8esi#ners often use li#ht &o*es or vellum paper Ta thi$% tra$in# paperU to do this) &ut I find plain $omputer paper

wor%s Aust fine. There are a few te$hni<ues that will help your illustrations loo% more realisti$.

You want to %eep your lines smooth) fluid) and rela*ed. >hen drawin# #athers) %eep your lines loose Tthin% $ursive Ms and >sU. >rin%les $an &e illustrated &y a $ouple of wide loops. 7leats are more stru$tured and e*a$t.

Rendering Fabrics
In fashion illustration) it is important to %now how to draw fa&ri$. Illustrations are a&out #ettin# an idea a$ross) and fa&ri$ $hoi$e is a hu#e part of that. (o) $olle$t fa&ri$ samples and #et familiar with different materials and prints.

Sequins

(tart with a few rows of $ir$les.

@ayer your dar%er $olors. 8rawin# se<uins $an ta%e a while) &ut if done ri#ht) it $an add interest to any desi#n. There are lots of te$hni<ues for drawin# em&ellishments. I li%e to start with a li#ht &ase $olor $olorin# in almost the whole pie$e while leavin# some white areas for shine. Then) I #o in layer &y layer with a dar%er shade drawin# simple $ir$les. 3t the end) I dot in my dar%est $ir$les and add the shine usin# $olored pen$ils) #el pens) or whiteFout pen addin# random dots and half $ir$les.

3dd shine.

Prints
The easiest way to draw prints is to &rea% the whole print down into se$tionsV most prints are easily divided into rows) #rids or $lusters. Floral prints $an easily &e divided into verti$al rows. (%et$h lines followin# the movement of the #arment. 3fterwards) you $an &rea% up your print. Instead of drawin# a flower with a stem) loo% for shapes. 3 flower $an &e se$tioned off in the top as a $ir$le and the &ottom) a heart.

Jeans

8raw out your Aeans.

@ay down your $olor.

3dd a few white lines for the twill weave.

8raw stit$hin#. Its $ru$ial to %now how to draw Aeans) and &e$ause there is su$h a variety of $olors) washes) and finishes) its important to %now how to draw a variety of loo%s. 9sually) for li#hter Aeans) I use #rays mi*ed with li#ht &lues. For worn) muddy Aeans) I mi* &rown and indi#o &lue. For this dar% wash) I sti$% with a simple &lue) added some white $olored pen$il dia#onal lines to represent the twill weave) and finished up with white stit$hin#.

Hair

(tart &y layin# down the li#htest $olor.

3dd in your shadin#.

3dd shine) and youMre done+ 6air $an &e tri$%yV the more pra$ti$e) the &etter. 8ont feel li%e you need to draw every strand of hairV %eep it simple. (tart with the li#htest $olor of hair first $overin# the whole area e*$ept where the hair shines. Its helpful to draw from a pi$ture or) as 'ina 3&lin# does) draw a little sun on one $orner of the paper and shade your illustration a$$ordin# to that li#ht sour$e. (o) if you draw a sun on the ri#ht) your shadin# should &e on the left of your fi#ure. (lowly add dar%er layers of $olor. Finish up with $olored pen$ils &y addin# in e*tra $olor and a few strands of hair.

Skin
(%in tone is pretty strai#htFforward. I li%e to start at the top and wor% my way in se$tions. I do a first $oat of $olor) then #o &a$% and add my shadin#. I shade on the opposite side of my li#ht sour$e and where any pie$e of $lothin# ends Tne$%lines) sleeves) hems) et$.U 3fter the s%in is done) I li%e to add a little $olor to the lips and $hee%s.

Flats

(our$eE &lo#.s$ad.edu The other side of fashion illustration is the te$hni$al side. Called te$hni$als or :flats)= these illustrations show how ea$h #arment would loo% flattened when off a fi#ure. Flats are supposed to &e to s$ale) e*a$t) and detailed. These serve as an instru$tion manual for pattern ma%ers and seamstresses. If you want to desi#n) &ut $ant seem to &e a&le to draw) this is an option. There are $omputer pro#rams that $an help you $reate desi#ns. 'ut) I would re$ommend at least learnin# how to draw &asi$ flats so you $an always &e a&le to s%et$h ideas and desi#ns.

My Finished Sketches

I hope you #uys enAoyed learnin# a little more a&out fashion illustrations. There is so mu$h I $ouldnMt in$lude and so mu$h more to learn. If you want more) $he$% out my s%et$hes) #et a $opy of the #rid) and see videos on how I drew these s%et$hes of !laine. httpEDDwww.$lothedmu$h.$omD20/2D0GDhowFtoFdrawFfashionFillustrationsF &y.htmlK.9ou5-ifien%

rtist Inter!iew with rturo "lena #$%&#%&$##

Arturo Elena is a very talented fashion illustrator based in Zaragoza, Spain. He has collaborated with top designers and fashion magazines including Cosmopolitan Spain, Chanel Spain and Audemars iguet. !ead on to learn more about this amazing artist"

7e$$ &s a bit abo&t 0o&rse$f= I am 3rturo !lena) a normal and down to earth person that has the ama-in# privile#e of wor%in# within my passion) Illustration. I am $ompletely selfFtau#ht and I always li%ed to draw so have &een pra$tisin# sin$e I was a little &oy. My mother even remem&ers me re$reatin# and paintin# >alt 8isney $hara$ters as a small $hild+ >hen I finished my studies in hi#h s$hool) I had to ma%e the de$ision of what to do ne*t and I de$ided to apply to the 8esi#n ($hool in 'ar$elona. The dire$tor of the s$hool told me that I had this #ift and su$h a talent that the &est Ws$hool for me was #oin# to &e the day &y day wor%) developin# my own style C te$hni<ue) and wor%in# and followin# my intuition. This time is also when my drawin# s%ills &e#an $om&inin# with my a&solute admiration for the fashion world.

>hen did 0o& dis(over that fashion i$$&stration ,as 0o&r passion? 3fter five years wor%in# with desi#n teams in 'ar$elona and (evilla) I realised that

what I li%ed the most was to draw fashion that others produ$ed rather than to produ$e fashion myself. The definitive Aump to illustration $ame when I #ot the re<uest from (panish desi#ners) 4i$torio C @u$$hino) to illustrate the press folder for their $olle$tion and perfume WCarmen) presented in Madrid Fashion >ee% in /002. >hen this rea$hed the press it opened a lot of doors to $olla&orations with fashion ma#a-ines su$h as Cosmopolitan) !lle and Telva. They started to re<uest my illustrations and I de$ided to dedi$ate my professional life to it) somethin# that helped me to #et $onsolidated as a fashion illustrator.

>hat are 0o&r biggest so&r(es of inspiration? 7hoto#raphy in #eneral is my main sour$e of inspiration &ut spe$ially fashion photo#raphy as I loo% throu#h many fashion ma#a-ines to re$reate and o&tain realisti$ effe$ts) li#ht) shadows) te*tures) the movements of the fi#ures and perspe$tives in my own ima#es. 3lso) I have to say that at the &e#innin# of my $areer) I was stron#ly influen$ed &y illustrators li%e "enX ,ruau and (tefano Canulli. >hat@s the +ost satisf0ing part of 0o&r Aob? >ithout a dou&t) when I present the final pie$e to a $lient and the result is &etter than what they were e*pe$tin#) this feelin# of #ettin# what they wanted to transmit with my illustration is the most satisfyin#.

..

>hat@s the +ost diffi(&$t thing abo&t 0o&r Aob? I wor% only upon re<uest and this is somethin# that $an #ive me limitations. For ea$h of my re<uests) I always have to $onsider the dire$tion that has &een stated &y the $lient. I have to find out a&out ea$h of my $lients style and philosophy. Then) dependin# of the purpose of their re<uest) I try to visualise all those aspe$ts in my mind &efore I put them to#ether in the final pie$e and on paper.

(o) for me the most diffi$ult part is to $ome with the final ima#e that will $over the $lients re<uirements.

>h0 do 0o& prefer #opi( +ar1ers for 0o&r i$$&strations? (in$e I started to &e a professional illustrator) I have tried different pens) &ut I use Copi$ for several reasonsE Their hu#e variety in $olours) <uality and pre$ision. >ith Copi$) I $an &lend the $olours to #et the results that Im loo%in# for. Bo 0o& have a favorite pie(e or proAe(t that 0o&@ve (reated? There are many pie$es that have &een very #ratifyin#. To mention a few) the series :6eroinas= T,irlsF6eroU produ$ed for Custo 'ar$elona and used as pattern for some of his #arments are one of my favourites) alon# with some of the illustrations that I produ$ed for the spanish desi#ner @emonie- that were used for his $atwal% invitations in Ci&eles Madrid Fashion >ee%. %n0 ,ords of advi(e for aspiring fashion i$$&strators and designers? I thin% they need to &e honest with themselves) to thin% very well if they have the s%ills) vo$ation) perseveran$e and if they are ready to wor% very hard. They need to &elieve in themselves and never #et down) tena$ity is somethin# very important in this profession. .o&ody has ever #iven me anythin# for free) &ut I #ot advanta#es from all of the opportunities that I found on the way. I understand that many times) people asso$iate the fashion industry as a $old and materialisti$ world) &ut it is a field as diffi$ult as any other and if you want to #et far you Aust need to wor% hard.

%n0 anno&n(e+ents to +a1e e<hibitions or sho,s (o+ing &p? My latest wor%) I Aust finished the s%et$hes) is an ima#e for an event that will ta%e part in the $ity where I live) Hara#o-a T(painU to promote the produ$ts of one of the most important wine $ellars in 3ra#on) :4iYas del 4ero= T(omontanoU. 3t Christmas time) on$e a#ain) Im wor%in# for MoZt 6ennessy (pain T,rupo @4M6U produ$in# their ChristmasFCards Ima#e. >hen those two pie$es are finished) I need to $ontinue with the last G out of /2 ima#es that I have produ$ed for the (wish lu*ury wat$hes &rand 3udemars 7i#uet. The first G ima#es were laun$hed in an e*hi&ition that too% part in the past Ci&eles Madrid Fashion >ee%. I $ant say anythin# a&out what is #oin# to happen with the other GI The &rand will tell all when the proAe$t is $ompleted as it is part of the deal and I have to %eep it se$ret There is a lot more to $ome) &ut until all of it is $losed and sealed I dont li%e to reveal anythin#I

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thoughts on conte'(orary )ashion illustration


illustration)thin%in# ] 8anielle on Bune Q) 20/2 at 5E51 pm

>henever I attend a fashion illustration e*hi&ition) or otherwise find myself in the $ompany of fashion illustration enthusiasts) I hear variations on this sentimentE :fashion illustration is having a moment:+ My inner rea$tion is alwaysE is it) really^ >hat does this mean) e*a$tly^ % +o+entC To me) #having a moment$ in the $onte*t of fashion means that for a period of time) fashion shines the spotli#ht on your parti$ular spe$ialty) attention shines on the wor% a$ross all media) rates inflate) and superstars emer#e ; that is) names &e$ome re$o#ni-a&le even to outsiders. 7hoto#raphers had a moment in the /050s and /0G0s. 8esi#ners had their &i# moment in the /0L0s and /0Q0s. Models had their moment in the /000s. Currently) &lo##ers and fashion editors are &oth havin# their moment. ?utside of these :moments=) the pra$titioners of their respe$tive $rafts $arry on doin# their thin#) and a few outliers will ma%e a name for themselves on an individual &asis) &ut for the most part $areerists re$eive relatively modest levels of s$rutiny and interest. I thin% fashion illustrators had their moment in the /010s. That was when 'Xrard and ,ruau were superstars ; their artwor% was featured on ma#a-ine $overs) and their wor% even influen$ed desi#ners rather than the other way around. 3t that time) fashion illustration was everywhere ; mailForder $atalo#ues) advertisin#) home sewin# patterns

; a lot of hands were needed to $reate all those drawin#s. >hen I was in s$hool) I voluntarily studied fashion illustration te*ts from the /010s) in whi$h it was $lear that fashion illustration was treated as a $ommon) appropriate profession for youn# ladies to o$$upy themselves with &etween #raduation and marria#e. Fashion illustration paid) sometimes <uite well) as !li-a&eth 6awes do$umented in Fashion is (pina$h. (o) no) I dont thin% fashion illustration is havin# a moment ri#ht now) or will anytime in the near future. Thats Aust wishful thin%in#. The $urrent state of fashion illustration is a tiny ni$he on the periphery of fashions $ons$iousness. !ven within the industry) the names of fashion illustrators arent well %nown. >hen you tell people outside of the fashion industry that you are a fashion illustrator) the rea$tions are always <ui--i$al. >hi$h is fine ; you $ant ma%e a moment) even if a moment $an ma%e you. Bust %now that if you pursue a fashion illustration $areer now) your $han$es of &e$ome ri$h and famous doin# it are virtually nil. !ven fashion illustrators at the top of their #ame ri#ht now live in middleF$lass) relative o&s$urity.

% (areerC 8espite redu$ed $ir$umstan$es) fashion illustration still $arries on. There are a&out half a do-en wellF%nown) respe$ted fashion illustrators with names that are re$o#ni-ed) at least within the industry. For some reason) most of them live in @ondon. 'eyond that) there is a small $ohort of fullFtime wor%in# fashion illustrators stru##lin# to ma%e a

name for themselves TI in$lude myself amon# this num&erU) and a mu$h &roader population of amateur) and partFtime fashion illustrators who often $om&ine their wor% with other professions. There are also the more #eneral illustrators who also o$$asionally do fashion wor%. Fashion illustration is $urrently ma%in# the mediaDte$hnolo#y shift alon# with the rest of the $reative world. 3lon# with illustration as a whole) fashion artists are in$reasin#ly $reatin# $areers online. 7ersonality has always &een an essential $omponent of $reatin# a name for yourself) and the upFandF$omin# $ohort of the futureFfamous Tmoment withstandin#U tend to also &e &lo##ers ; most nota&ly 8anny "o&erts) athryn !lise) and of $ourse ,aran$e 8ore. 3s the internet has &e$ome the startin# point) the role of the a#ent or editor as the mediator in laun$hin# an illustrators $areer is wanin#. There are two main ways to &uild a $areer as a fashion illustrator. You $an $reate an ori#inal &ody of wor% and sell it as ori#inals and prints) either throu#h #alleries or online. This type of $areer is more on the :art= end of the spe$trum. ?r you $an assem&le an online portfolio) &ased on whi$h freelan$e $lients will hire you) as I do. This is more ali#ned with the :$ommer$ial= side of the &usiness. ?r you $an do &oth. There is a third) more o&s$ure stream you $an sail down too ; &ut Ill #et to that at the end of this Tlon#U post. % trendC ?ne thin# I find fas$inatin# and uni<ue a&out modern editorial and $ommer$ial fashion illustration is its sus$epti&ility to mi$roFtrends. Illustration is very rarely used in maAor fashion ma#a-ines now) and for some reason when it is it seems that $ertain styles tend to &e u&i<uitous for short periods of time. In the late /000s as $omputers were Aust &e#innin# to &e used as a tool) ve$tor spot illustrations were suddenly everywhere. Thou#h Bason 'roo%s a$tually wor%s in 7hotoshop Te*ample a&oveU) he has &e$ome the most wellF%nown e*ample of this sli$% style. >hen editors &e$ame tired of the di#ital loo%) there was a rea$tionary shift &a$% to $lassi$ painterly effe$ts) nota&ly 8avid 8ownton and (tina 7ersson.

This lovely 2001 ad $ampai#n for Choi$e &y Calvin lein was illustrated &y the multitalented Charles 3nastase. 3nastase used photoFrealisti$ pen$il renderin#) done so ti#htly that every hair was arti$ulated. This was a maAor $ampai#n and I remem&er seein# and remar%in# upon it at the time &e$ause fashion illustrations are so rarely on &ill&oards. It would have &een #reat if it had inspired more &rands to $ommission illustrated $ampai#ns ; &ut instead it inspired a host of photoFrealisti$ pen$ilFrenderin# fashion illustrators. This has &e$ome the most $ommon style of fashion illustration) and now in 20/2 it is dan#erously near saturation. It is very diffi$ult to differentiate the styles of illustrators who use this te$hni<ue unless they $om&ine it with some other element Tli%e "i$hard ilroyWs linear effe$tsU. There are also $opyri#ht and ownership issues when the illustrations are &ased on fashion photo#raphy) not to mention the identity of the models. In a way) the pro$livity for this style of shiftin# analo# illustration towards photo#raphy mirrors photo#raphys own mi#ration towards illustration with di#ital dependen$y on photoshop. 7erhaps it indi$ates a future $ate#ory of ima#ema%ers) the photostrators^ (till) my heart #oes out to the illustrators whose $areers are &ased on this style) whi$h is not li%ely to %eep fashiona&le favour forever. .ever mind the medium) no fashion illustrator is immune to the ends of trends. The main thin# that differentiates fashion illustration from any other type of illustration is its $urren$y. 3 fashion illustrations essential <uality must always refle$t the attitudes and tastes of its time ; as a result fashion illustration dates very <ui$%ly and fashion illustration $areers are rarely lon# ones unless the illustrator is remar%a&ly adapta&le) li%e the #reat 3ntonio.

%n ideaC The other aspe$t of fashion illustration that differentiates it from the rest of the illustration industry is that it also plays a vital) $reative role in desi#n development. 3s an illustrator who also $reates ideation s%et$hes) desi#n drawin#s and te$hni$al flats for desi#ner $lients) I have a very personal interest in fashion illustration that is used for pra$ti$al purposes. To me) these are often the most fas$inatin# types of fashion illustration) and I find it poi#nant that su$h a hu#e swath of drawn material is not for pu&li$ $onsumption. It &others me that when fashion illustration is dis$ussed) its hidden industrial role is so often i#nored. This is why fashion illustration will never &e e$lipsed &y photo#raphy. (%et$hin# plays a se$ret) si#nifi$ant role in fashionE the #enesis of an idea. li%e this post^ share it F httpEDDfinalfashion.$aDthou#htsFonF$ontemporaryFfashionFillustrationD