Need To Know: Fashion Illustrators
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NEED TO KNOW: Fashion Illustrators
58 r ep r e s e n ted by Va n ta n n y
YOSHIRO NISHI Based in: Tokyo, Japan Education: Graduated from Vantan Design Institute for Graphic Design in 2003. Clients include: BGM Japan, Universal Music, Avex Entertainment, Yamaha, and Victor Entertainment. What is your preferred medium? Photoshop. Please describe your process of creation. I first decide what materials I want to use, and then move them around until it finds its perfect place within the image. What role do you think illustration has in fashion? I think it’s another way of making a lasting and entertaining impression.
DRAW THE LINE Le Book’s annual Connections event has been the place we and many others in the fields of media and advertising have gone to see “who’s who” and “what’s what” in photography. This year, though, we were struck by the depth and quality of the illustration on show. From artists working with traditional artist’s tools to those whose palette comes in a drop-down window, we realized that illustration, and particularly fashion illustration, has realized a new level of importance and quality. We went to each of the agencies representing illustrators who were at Connections, and asked them to submit one artist they felt truly embodied fashion illustration, whatever form that might take. This is fashion illustration now.
DAVID, by Yoshiro Nishi from his private collection. 1/C/C/I, a limited-edition volume of Nishi’s work, will be released this winter.
60 NEED TO KNOW: Fashion Illustrators
r ep r e s e n ted by K ate L a r kwo r t h y
r ep r e s e n ted by big active
MONTSE BERNAL
kate gibb
Based in: Barcelona, Spain
Based in: London
Education: Graduated with a degree in Fine Arts from the University of Barcelona. Specialized in illustration in École Nationale Supérieure des Arts Décoratifs in Paris.
Education: “Formal” degree in Printed textiles and a MA in Illustration … and a long time self-employed. This is a big learning curve.
Clients include: Nike, BMW, Asics, Camper, Custo Barcelona, Beefeater, MarieClaire, ELLE France, Paste, S Magazine, Vanidad, NYLON, The Guardian, and The New York Times.
Clients include: Levis, Lee, Dries Van Noten, Adidas, GQ, Arena Homme, ID Magazine, and Dazed & Confused. What is your preferred medium? Silkscreen.
What is your preferred medium? Graphite pencil, needle, thread, and scissors.
Please describe your process of creation. That’s tricky… it can be quite convoluted to explain and varies depending on the client. I don’t have a set procedure that I apply to each commission, although obviously, technically there will be some similarities. For the Dries Van Noten campaign I worked with the Art Director Nancy Rhodes and photographer Ellen Nolan. After the shoot was completed I received the photographs to work from. Creatively, it was left quite open for me to do my thing, whilst being mindful of their collection and use of fabrics and color. Everything I create is silk-screened. Often, I work back into a screened piece by hand using inks, paint and varnishes to move things on a little, bring new life, and alleviate the flatness.
Please describe your process of creation. My process of creation depends of the project. When I work on fashion, I usually draw on old paper, often on the back of scores from the 19th century or beginning of the 20th. Among soft and hard graphite pencils I choose one suitable to draw the body, the features of the face, the gesture of the hands or the hair’s movement. Then I start to dress it with needle and thread trying to ‘sew’ the spirit of the clothes and designer. What role do you think illustration has in fashion? I think that fashion illustration is like adding the perfect brooch to your ‘little black dress.’
“There is a movement towards using more illustration in fashion”
What role do you think illustration has in fashion? I’m not sure there is a definitive answer to this. It’s different for each artist. For me, my illustrative role is to inform, attract and tempt the viewer into being curious of the collection and wanting to explore it more.
r ep r e s e n ted by jed r oot
JENNY MÖRTSELL Based in: Brooklyn, New York Education: M.A. in Graphic Design & Illustration at Konstfack University of Arts, Crafts and Design in Stockholm, Sweden. Clients include: New York Times Magazine, Vogue China, NYLON, ELLE UK, GQ Italia, Topshop, Urban Outfitters, and Whyred. What is your preferred medium? Drawing with a 0.5mm mechanical pencil and smooth Bristol board.
r ep r e s e n ted by b r eed
natasha law Based in: London
What is your preferred medium? Line drawings and artwork. Please describe your process of creation. If it’s figurative work, there’s an initial model sitting where photographs and sketches are made. I work from this and develop colors and crops. What role do you think illustration has in fashion? When the two meet it is definitely a symbiotic relationship — so many good illustrators have come from fashion design courses where they have discovered their style drawing for fashion, like Daisy de Villeneuve, who used that desire to style a world of their own. Then you have illustrators who have ventured into the fashion world — like Julie Verhoeven. In-between you have illustration being used by designers as surface design, for advertising campaigns and packaging, and illustrators gaining inspiration from color/shape/pattern/mood that is thrown up by fashion.
K at e Gibb’s ‘Cou pl eGir ls” fe at u r ed in JALOUSE M AG A ZINE; Je n n y Mortsel l , from a fa shion story in col l a bor ation w it h T ek l a K n aust.
Clients include: Beatrix Ong — including designing the lining for the collaboration with Globe-Trotter luggage, designing the Christmas cards for Brown’s London store, and exhibiting at the Matches store in London’s Marylebone.
Til da Sw in ton il lust r ation, from Mon tse Ber n a l’s per son a l col l ec tion; N ata sh a L aw ’s ‘R e aching in Y el low K nick er s’ for M atches.
Education: Camberwell College of Art.
Please describe your process of creation. I almost always have a photo reference to look at. I usually look at the picture on my computer screen. I start with the outlines, then the eyes, mouth, and then the rest of the body. I don’t work fast, but on the other hand I rarely do any sketches before I go on with the final. The last stage is to scan the drawing and do some retouching or coloring in Photoshop. What role do you think illustration has in fashion? I think nowadays it’s sadly more a complement to photography. When you look in old fashion magazines from the ‘60s and ‘70s you realize what a small role it has now compared to then, when whole editorials could be illustrated. Even magazines from the ‘80s had a lot of ads and illustrations instead of a photo. There is a movement towards using more illustration in fashion though, I think, especially as prints and patterns. And in an age of images retouched to perfection you get a personal touch with illustration that’s almost impossible to get with a photo.
r ep r e s e n ted by I llu s t r atio n LT D .
NUNO Da COSTA
Based in: London Education: Self-taught. Clients include: Designer Melissa Odabash, hairstylists Neil Moodie and Zoe Irwin, Hari’s Hair and Beauty Salon, jewelry designers Lesley Vik Waddell and Kirt Holmes, Conair corporation USA, Marie Claire, Cosmopolitan, and Wonderland.
r ep r e s e n ted by B e r n s tei n & A n d r iulli
YUKO SHIMIZU
What is your preferred medium? You can’t beat pencils, gouache, and paper. Please describe your process of creation. I always start by sketching out my ideas and painting them with gouache. I then scan and retouch in Photoshop, much like a photographer does with his stills.
Based in: New York
What role do you think illustration has in fashion? Illustration has a huge role in fashion. Fashion is an art, after all. It is creative, romantic and emotional and nothing embodies that more than a beautiful illustration. Also there is something a little unpredictable and exciting about illustration. You don’t always know where it is going to take you. You don’t really get that with digital fashion photography anymore. Photo’s are normally set up and staged, and you pretty much know what you are going to get before you get it.
Education: B.A. in Business, Waseda University, MFA in Illustration from School of Visual Arts, New York, and currently an instructor at School of Visual Arts. Clients include: The Gap, Target, Microsoft, Pepsi, TIME, The New York Times, The New Yorker, NYLON, Interview, and Playboy. What is your preferred medium? My work is mixture of hand drawing and digital, but my favorite medium is black India ink on watercolor paper. Please describe your process of creation. Technique-wise, I draw with ink on watercolor paper, scan that in and color on Photoshop. Idea-wise, I try to come up with something that is believable enough, but also something only drawings can do and impossible to achieve in photos.
r ep r e s e n ted by M . A . P. M a n ageme n t & P r oductio n
paul davis
What role do you think illustration has in fashion? There are a lot of beautiful fashion photographs and I love them. But I don’t try to recreate what the photo can achieve way better than a drawing. Each illustrator has a sort of “filter” that is original and unique-- that can give fashion a whole new and different look.
Based in: East London Education: Exeter College of Art and Design. Clients include: IBM, Mercedes, The New Yorker, The New York Times, Eye Magazine, Ryuichi Sakamoto, Soar London, Colette, Vogue, The Wapping Project, and Browns Design.
r ep r e s e n ted by K r ame r + K r ame r
CARLOTTA
What is your preferred medium? Pencil and paint. Macs are pretty useful too, especially Photoshop.
Based in: Paris
Please describe your process of creation. Think, draw, laugh.
Education: Studio Berçot Fashion School Paris.
What role do you think illustration has in fashion? It’s more important than a lot of the trite photography. Anyone want yet another tryingto-be-sexy model selling something too expensive for 99.9 percent of the population?
What is your preferred medium? Black pen, watercolor, Xerox, and a fashion magic wand. Please describe your process of creation: I observe people in the street, magazines, posters, books and translate this “air du temps” through the girls that I imagine to be the cutest, in actuality. What role do you think illustration has in fashion? It is just essential. It is the first way the fashion appears.
KORS il lust r ations by N u no Da Costa , Pau l Dav is il lust r ation for Tim Soa r AW ‘0 9 limit ed edition pr in ts.
Clients include: ELLE France, ELLE Japan, Le Printemps, Azzaro, Toyota, Séphora, La Grande Epicerie de Paris, Lancaster, and LVMH. Ta k ing R isk s by Y u ko Shimizu; A piece from C a r lot ta’s col l ec tion, r epr ese n ting wor k fe at u r ed in V ision a ir e , Fr e nch El l e , T he N e w Yor k er a n d Fr e nch Vogu e .
NEED TO KNOW: Fashion Illustrators
62
“there is something a little unpredictable and exciting about illustration. You don’t always know where it is going to take you.”
58 r ep r e s e n ted by Va n ta n n y
YOSHIRO NISHI Based in: Tokyo, Japan Education: Graduated from Vantan Design Institute for Graphic Design in 2003. Clients include: BGM Japan, Universal Music, Avex Entertainment, Yamaha, and Victor Entertainment. What is your preferred medium? Photoshop. Please describe your process of creation. I first decide what materials I want to use, and then move them around until it finds its perfect place within the image. What role do you think illustration has in fashion? I think it’s another way of making a lasting and entertaining impression.
DRAW THE LINE Le Book’s annual Connections event has been the place we and many others in the fields of media and advertising have gone to see “who’s who” and “what’s what” in photography. This year, though, we were struck by the depth and quality of the illustration on show. From artists working with traditional artist’s tools to those whose palette comes in a drop-down window, we realized that illustration, and particularly fashion illustration, has realized a new level of importance and quality. We went to each of the agencies representing illustrators who were at Connections, and asked them to submit one artist they felt truly embodied fashion illustration, whatever form that might take. This is fashion illustration now.
DAVID, by Yoshiro Nishi from his private collection. 1/C/C/I, a limited-edition volume of Nishi’s work, will be released this winter.
60 NEED TO KNOW: Fashion Illustrators
r ep r e s e n ted by K ate L a r kwo r t h y
r ep r e s e n ted by big active
MONTSE BERNAL
kate gibb
Based in: Barcelona, Spain
Based in: London
Education: Graduated with a degree in Fine Arts from the University of Barcelona. Specialized in illustration in École Nationale Supérieure des Arts Décoratifs in Paris.
Education: “Formal” degree in Printed textiles and a MA in Illustration … and a long time self-employed. This is a big learning curve.
Clients include: Nike, BMW, Asics, Camper, Custo Barcelona, Beefeater, MarieClaire, ELLE France, Paste, S Magazine, Vanidad, NYLON, The Guardian, and The New York Times.
Clients include: Levis, Lee, Dries Van Noten, Adidas, GQ, Arena Homme, ID Magazine, and Dazed & Confused. What is your preferred medium? Silkscreen.
What is your preferred medium? Graphite pencil, needle, thread, and scissors.
Please describe your process of creation. That’s tricky… it can be quite convoluted to explain and varies depending on the client. I don’t have a set procedure that I apply to each commission, although obviously, technically there will be some similarities. For the Dries Van Noten campaign I worked with the Art Director Nancy Rhodes and photographer Ellen Nolan. After the shoot was completed I received the photographs to work from. Creatively, it was left quite open for me to do my thing, whilst being mindful of their collection and use of fabrics and color. Everything I create is silk-screened. Often, I work back into a screened piece by hand using inks, paint and varnishes to move things on a little, bring new life, and alleviate the flatness.
Please describe your process of creation. My process of creation depends of the project. When I work on fashion, I usually draw on old paper, often on the back of scores from the 19th century or beginning of the 20th. Among soft and hard graphite pencils I choose one suitable to draw the body, the features of the face, the gesture of the hands or the hair’s movement. Then I start to dress it with needle and thread trying to ‘sew’ the spirit of the clothes and designer. What role do you think illustration has in fashion? I think that fashion illustration is like adding the perfect brooch to your ‘little black dress.’
“There is a movement towards using more illustration in fashion”
What role do you think illustration has in fashion? I’m not sure there is a definitive answer to this. It’s different for each artist. For me, my illustrative role is to inform, attract and tempt the viewer into being curious of the collection and wanting to explore it more.
r ep r e s e n ted by jed r oot
JENNY MÖRTSELL Based in: Brooklyn, New York Education: M.A. in Graphic Design & Illustration at Konstfack University of Arts, Crafts and Design in Stockholm, Sweden. Clients include: New York Times Magazine, Vogue China, NYLON, ELLE UK, GQ Italia, Topshop, Urban Outfitters, and Whyred. What is your preferred medium? Drawing with a 0.5mm mechanical pencil and smooth Bristol board.
r ep r e s e n ted by b r eed
natasha law Based in: London
What is your preferred medium? Line drawings and artwork. Please describe your process of creation. If it’s figurative work, there’s an initial model sitting where photographs and sketches are made. I work from this and develop colors and crops. What role do you think illustration has in fashion? When the two meet it is definitely a symbiotic relationship — so many good illustrators have come from fashion design courses where they have discovered their style drawing for fashion, like Daisy de Villeneuve, who used that desire to style a world of their own. Then you have illustrators who have ventured into the fashion world — like Julie Verhoeven. In-between you have illustration being used by designers as surface design, for advertising campaigns and packaging, and illustrators gaining inspiration from color/shape/pattern/mood that is thrown up by fashion.
K at e Gibb’s ‘Cou pl eGir ls” fe at u r ed in JALOUSE M AG A ZINE; Je n n y Mortsel l , from a fa shion story in col l a bor ation w it h T ek l a K n aust.
Clients include: Beatrix Ong — including designing the lining for the collaboration with Globe-Trotter luggage, designing the Christmas cards for Brown’s London store, and exhibiting at the Matches store in London’s Marylebone.
Til da Sw in ton il lust r ation, from Mon tse Ber n a l’s per son a l col l ec tion; N ata sh a L aw ’s ‘R e aching in Y el low K nick er s’ for M atches.
Education: Camberwell College of Art.
Please describe your process of creation. I almost always have a photo reference to look at. I usually look at the picture on my computer screen. I start with the outlines, then the eyes, mouth, and then the rest of the body. I don’t work fast, but on the other hand I rarely do any sketches before I go on with the final. The last stage is to scan the drawing and do some retouching or coloring in Photoshop. What role do you think illustration has in fashion? I think nowadays it’s sadly more a complement to photography. When you look in old fashion magazines from the ‘60s and ‘70s you realize what a small role it has now compared to then, when whole editorials could be illustrated. Even magazines from the ‘80s had a lot of ads and illustrations instead of a photo. There is a movement towards using more illustration in fashion though, I think, especially as prints and patterns. And in an age of images retouched to perfection you get a personal touch with illustration that’s almost impossible to get with a photo.
r ep r e s e n ted by I llu s t r atio n LT D .
NUNO Da COSTA
Based in: London Education: Self-taught. Clients include: Designer Melissa Odabash, hairstylists Neil Moodie and Zoe Irwin, Hari’s Hair and Beauty Salon, jewelry designers Lesley Vik Waddell and Kirt Holmes, Conair corporation USA, Marie Claire, Cosmopolitan, and Wonderland.
r ep r e s e n ted by B e r n s tei n & A n d r iulli
YUKO SHIMIZU
What is your preferred medium? You can’t beat pencils, gouache, and paper. Please describe your process of creation. I always start by sketching out my ideas and painting them with gouache. I then scan and retouch in Photoshop, much like a photographer does with his stills.
Based in: New York
What role do you think illustration has in fashion? Illustration has a huge role in fashion. Fashion is an art, after all. It is creative, romantic and emotional and nothing embodies that more than a beautiful illustration. Also there is something a little unpredictable and exciting about illustration. You don’t always know where it is going to take you. You don’t really get that with digital fashion photography anymore. Photo’s are normally set up and staged, and you pretty much know what you are going to get before you get it.
Education: B.A. in Business, Waseda University, MFA in Illustration from School of Visual Arts, New York, and currently an instructor at School of Visual Arts. Clients include: The Gap, Target, Microsoft, Pepsi, TIME, The New York Times, The New Yorker, NYLON, Interview, and Playboy. What is your preferred medium? My work is mixture of hand drawing and digital, but my favorite medium is black India ink on watercolor paper. Please describe your process of creation. Technique-wise, I draw with ink on watercolor paper, scan that in and color on Photoshop. Idea-wise, I try to come up with something that is believable enough, but also something only drawings can do and impossible to achieve in photos.
r ep r e s e n ted by M . A . P. M a n ageme n t & P r oductio n
paul davis
What role do you think illustration has in fashion? There are a lot of beautiful fashion photographs and I love them. But I don’t try to recreate what the photo can achieve way better than a drawing. Each illustrator has a sort of “filter” that is original and unique-- that can give fashion a whole new and different look.
Based in: East London Education: Exeter College of Art and Design. Clients include: IBM, Mercedes, The New Yorker, The New York Times, Eye Magazine, Ryuichi Sakamoto, Soar London, Colette, Vogue, The Wapping Project, and Browns Design.
r ep r e s e n ted by K r ame r + K r ame r
CARLOTTA
What is your preferred medium? Pencil and paint. Macs are pretty useful too, especially Photoshop.
Based in: Paris
Please describe your process of creation. Think, draw, laugh.
Education: Studio Berçot Fashion School Paris.
What role do you think illustration has in fashion? It’s more important than a lot of the trite photography. Anyone want yet another tryingto-be-sexy model selling something too expensive for 99.9 percent of the population?
What is your preferred medium? Black pen, watercolor, Xerox, and a fashion magic wand. Please describe your process of creation: I observe people in the street, magazines, posters, books and translate this “air du temps” through the girls that I imagine to be the cutest, in actuality. What role do you think illustration has in fashion? It is just essential. It is the first way the fashion appears.
KORS il lust r ations by N u no Da Costa , Pau l Dav is il lust r ation for Tim Soa r AW ‘0 9 limit ed edition pr in ts.
Clients include: ELLE France, ELLE Japan, Le Printemps, Azzaro, Toyota, Séphora, La Grande Epicerie de Paris, Lancaster, and LVMH. Ta k ing R isk s by Y u ko Shimizu; A piece from C a r lot ta’s col l ec tion, r epr ese n ting wor k fe at u r ed in V ision a ir e , Fr e nch El l e , T he N e w Yor k er a n d Fr e nch Vogu e .
NEED TO KNOW: Fashion Illustrators
62
“there is something a little unpredictable and exciting about illustration. You don’t always know where it is going to take you.”
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