Fida Fashion arts & illustration Magazine by fidaworldwide

SPRING/SUMMER 2021 UK £15 EUROPE € 17.37 US $21.23

Elements and possibilities of design

The Fashion Arts & illustration Magazine

KEEPING HER COOL

ARTWORK BY NADIA COOLRISTA

Fida takes over The Billboard building in Miami Design District Live Arts during Milan Fashion Week with Alberta Ferretti Sarah Plaumann captures the essence of Hermes in NYC Fashion illustration Awards finds a new voice Talking the Fashion Figure

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

Artwork by Mila Gislon 4 FIDA . The Fashion Art & Drawing Magazine

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

This page: Gill Wright Opposite page: Joanna Layla Milan fashion Week 2021 6

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Artwork by Tracy Turnbull

Artwork by Connie Lim

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

ALBERTA FERRETTI BOUTIQUE LONDON 205/206 Sloane Street, London 10

FIDA . The Fashion Art & Drawing Magazine

Artwork by Kelly Bailey

ALBERTA FERRETTI BOUTIQUE LONDON 205/206 Sloane Street, London FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Artwork by Montserrat Salvat

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

1 Cadogan Pl, London SW1X 9PX . 155 New Bond St, London W1S 2UA 14

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Artwork by Sarah Plaumann

Elements and possibilities of design

24 Rue du Faubourg Saint-Honoré, 75008 Paris, France . 42 Avenue George V, 75008 Paris, France FIDA . The Fashion Art & Drawing Magazine

FIDA . The Fashion Art & Drawing Magazine

The Fashion Arts Magazine

Editor in Chief Patrick Morgan Editor Diane Morgan Contributors/Featured Artists Joanna Layla Nadia Coolrista Nuno Da Costa Kelly Bailey Mila Gislon Manon Cardin Caroline Andrieu Martina Cabrini Sarah Plaumann Jaqueline Bissett Jessica Bird Caroline Tomlinson

FIDA . The Fashion Art & Drawing Magazine

The Fashion Art & Drawing Magazine

CONTENTS Melanie De Jong 20 Joanna Layla 28 Mila Gislon 36 Sarah Plaumann 42 Wilew x Joanna Layla 50 Joshua Marshall 56 Maxim Sergeev 64 Kelly Bailey 68 Nicolas Rao 76 Nadia Coolrista 80 Hossein Borojeni 88 Connie Lim 92 Margot Van Huijkelomn 100 Manon Cardin 104 Martha 110 Carmen 112 Annette Wueller 113 Fida Awards a/w 114 Gill Wright 120 Talks Drawing Live Talks 126 The Fashion Figure Live 130 Finding your voice 146 Peter Turner 152 Francesco Ia Icono 162

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The Emerald City Returns

MELANIE DE JONG

When did you first get into drawing?

I started drawing when i was very little, in kindergarten i already made imaginative drawings. Loved to draw and paint. As a child i was quite dreamy and had a lot of imagination. If it was up to me back in the days, i would rather draw all day instead of going to school. Why did you choose to make fashion part of your inspiration? My grandmother Annie has had a lot of influence in that, I think I was 6 and we always watched old Hollywood movies together, “The wizard of Oz”, “Singing in the rain”, “The little princess”, and of course “Sissi”. She also had luxurious fashion magazines, and In that period my love for fashion came in. Just one look in the magazines and seeing the clothes and models, I literally felt it in my bones. When my grandmother said that back in her day the covers were hand drawn, I knew i wanted to be a designer/illustrator. What is your particular working day as a creative?

Opposite page: Alberta Ferretti Milan fashion Week 2021

My phone is my holy grail, I make pictures or screenshots from things i see. Buildings, nature, animals, colours, patterns. Lots of hand images and different angles of the face, because I love drawing emotion in my illustrations. Mostly i draw with the image in my phone, I like to expand the image to see the details better. Some days I think it’s better to print the image out. I find it very inspiring to be in a theatre or museum. To see the paintings of the past or see a good documentary, cultural movie or a costume drama, it creates a kind of inspirational energy i cannot describe. History books of different time periods also helps me to create new things. And patterns, i absolutely love patterns, especially from the past. Old book covers, tiles, repeat patterns on clothes and wallpaper. The mediums i use are pencils, brushes, aquarelle paint, paint markers, ink and crayons. Drawing and painting the old fashioned way is something i prefer doing. Although hand-painted works suits me better, i cannot say i will never draw digitally in the future. Maybe a combination of those different techniques, who knows........

I usually start to get everything settled for drawing. And then it’s time to find some images that inspires me. I have to get in a flow, and with music on its easier to get in my drawing bubble. Sketching mostly takes a couple of hours. If the drawing is ready for painting i will tape it and start with creating the illustration with colour. But every day is different, if i have a deadline i will work in the evening or night to get things finished on time.

Who are what has influenced you over the years as an artist?

What tools do you use when creating your images?

Ever since I can remember I have been visiting museums and have been fortunate enough to visit several

FIDA . The Fashion Art & Drawing Magazine

There are many artists who influence me in my life. The old masters in the time that fashion covers were still illustrated, had a lot of influence on me. Illustrators like Helen Dryden, George Barbier and George Le Pappe.

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

The Emerald City Returns

This page: Vogue Cover Award Opposite page: Dior

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

The Emerald City Returns

FIDA . The Fashion Art & Drawing Magazine

countries to admire works from painters who have meant a lot to our world. Vincent van Gogh, Matisse, Rembrandt van Rijn, Leonardo da Vinci, Carlo Crivelli, Hans Holbein en Salvador Dali. There are also artists when I was in my 20s that i looked up to such as Fashion illustrator Piet Paris and Artist Dadara. Designers like Fong Leng, Coco Chanel, Yves Saint Laurent and Christian Dior, inspired me a lot.

Opposite page: Bulgari Project 2021 This page: Bulgari Project 2021

There was one designer that if i saw his work i was moved, emotional and fascinated at the same time. That designer is the late Lee Alexander mc Queen, (Alexander the great) he inspired and stimulated me to use my dark and melancholic side in my work and not to be ashamed of it. To use it as an art form and a way to to express myself. How he could translate his inspiration and fantasy into a collection i thought it was absolutely genius.

notifications while illustrating, so you can be more focused on your own thing. What are you drawing today? Music are you listening to? Books that you are reading?Favourite artist/designer at the moment? I mostly draw models, shoes and bags lately. Sometimes its painted very detailed and other times i draw in my own style. I noticed that i am illustrating a lot of models. I love drawing the face, you can see emotion in it. I think i do that because i see how much energy and time designers put in their collection. To give you a glimpse of all that I give you the opportunity to take a look under my magnifying glass. I see designers as storytellers and to make my illustrations this way, i hope their story continues. I listen to Mozart, Bach, Celtic music, violin music or jazz when i am working.

“My phone is my holy grail, I make pictures or screenshots from things I see.

But i love Motown, Nina simone, French chansons, actually music from all times.

Buildings, nature, animals, colours, patterns. Lots of hand images and different angles of the face, because I love drawing emotion in my illustrations. Mostly I draw with the image in my phone, I like to expand the image to see the details better. Some days I think it’s better to print the image out.”

The books i love to read are novels from Jane Austen or the Brontë Sisters.

M.Jong What advice do you have for younger artists looking to be part of this industry? I want to say to them, dont worry to much about other people’s opinions. Just make sure you have your own signature, and stay true to that. Take your time for creating an illustration, something created from your own mind is always good. Keep on drawing and dare to be different. Challenge yourself with the difficult aspects of drawing and painting and try different mediums. Too much distraction from social media can be annoying, because you see those beautiful illustrations from others. Sometimes it is better to turn off your

There are so many designers that i really like such as Iris van Herpen, Viktor & Rolf, Sarah Burton, Simone Rocha, Maria Grazia Chiuri, Manish Arora, Pierpaolo Piccioli, Giambattista Valli, Raf Simons, Marc Jacobs, Silvia VenturiniFendi, Dries van Noten, Jean Paul Gaultier, and John Galliano. “I mostly draw models, shoes and bags lately. Sometimes it’s painted very detailed and other times I draw in my own style. I noticed that i am illustrating a lot of models. I love drawing the face, you can see emotion in it. I think I do that because i see how much energy and time designers put in their collection. To give you a glimpse of all that I give you the opportunity to take a look under my magnifying glass. I see designers as storytellers and to make my illustrations this way, i hope their story continues.” M.Jong FIDA . The Fashion Art & Drawing Magazine

Latest Exhibitions

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The Painter stripped bare by her Bachelors

JOANNA LAYLA ‘The Painter stripped bare by her Bachelors’

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Elements and possibilities of design

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JOANNA LAYLA The Painter stripped bare by her Bachelors By Patrick Morgan

When I was first met with a painting by Joanna Layla, I was hit with a graphic circle, an Orange Sun like shape amongst the midst of brush strokes. Joanna Layla and I then met in person for the first time at the Fida awards, when I was just about to announce the Fida awards and she was among the group of potential nervous shortlisted. In that flashing instance she quickly prompted that she had decided on an art stop gap, then an AHA moment, then the lights switching on in the room, like Martin Creed’s Tate modern installation. Probably like Creed, Joanna had decided that things couldn’t stay as they were, she had to take back control, be the artist she always strived to be. Being an artist; the struggle that every creative goes through daily, to create a drawing, bare their soul, find a way to be discovered by the world, or share their story, their vision. I wondered what really was drawing me to her work, then it struck me. If you look back through the history of Japanese woodblock paintings and printmaking, it’s all there, ready to be unfolded and discovered. ‘Ten Scenes of the Sea - Black Current’ by Yokoyama Taikan, which 30

was a series of artworks on paper by an artist influenced by western art, mixed with traditional japanese painting. Like Joanna, Taiken developed a new style, eliminating the lines and concentrating on soft, blurred polychromes. However, such a cutting-edge technique was severely criticized by other traditional painters. His style, which was called “Mouroutai(Blurred style)” (which nowadays exactly depicts his painting’s character), meant the lack of energy and vitality sarcastically. Today, these artworks are yet simple but powerfully giving you a sense of space and wonderment, a feeling a musical symphony of silence. Reminiscent of John Cage’s ‘The Silent Piece’ which was a composed sound piece in 1952, for any instrument or combination of instruments, the score instructs the performer not to play their instrument during the entire duration of the piece throughout the three movements. When looking through her practice or latest work, Layla is really fighting with the process of reduction and stripping back. Many artists’ contemporaries from Picasso’s Bull line drawings to Modernist Marcel

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Duchamp ‘Fountain’, was brought back to nothing, apart from how to re-encounter an object. Joanna’s work is dreamy, refined and subtle, never simple, a reduced technique, like japanese watercolour painting or hand rendered letterforms, take a lifetime to master. I look forward to seeing how she takes this work on a new journey through the tips of this commercial digital mountainous world.

The Painter stripped bare by her Bachelors

This page: Alberta Ferretti Milan Fashion Week 2021

FIDA . The Fashion Art & Drawing Magazine

The Painter stripped bare by her Bachelors

This page: & Opposite page: Alberta Ferretti Milan Fashion Week 2021

FIDA . The Fashion Art & Drawing Magazine

The Painter stripped bare by her Bachelors

This page: & Opposite page: Bulgari x Fida 2021

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Elements and possibilities of design

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Walk through the imaginative, Narnia wardrobe of fashion illustration

MILA GISLON Walk through the imaginative, Narnia wardrobe of fashion illustration

Walk through Mila Gilson’s imaginative, Narnia wardrobe of fashion illustration by Patrick Morgan When did you first get into drawing? I’ve been drawing for as long as I can remember. I’ve always loved books so as a child many of my drawings drew inspiration from the stories I loved: images of foxes and other animals – all of course elegantly dressed! Why did you choose to make fashion part of your inspiration? I was born and brought up in the fashion capital Milan. Fashion week and the fashion district around Via Monte Napoleone are an integral part of the city – so I suppose it was natural to bring that into my work. What is your particular working day as a creative? As a busy medical student at Ludwig-Maximilians-Universität I make a point of always cutting out time to draw, often in the evening. What tools do you use when creating your images? Although I love being surrounded by 36

books, moodboards and beautiful patterns, I can be very streamlined in my creative process. Various traditional mediums “I’ve enjoyed experimenting with in the past, such as watercolours and collages, I now replicate in my digital work - so all I really need is Procreate for iPad and my sofa (a Chai Latte would also be great!).” Who and what has influenced you over the years as an artist? Milan ( La Scala, Armani Silos…) and especially the Milanesi. Exhibitions: I’ve always loved going to exhibitions - they’ve been a constant stream of creative energy. Art books: Because I love storytelling I’m always drawn to books on illustration and costume design for the theatre and ballet. Christian Lacroix’s work for the stage is unbeatable! What advice do you have for younger artists looking to be part of this industry? I’ve spent a lot of time on very detailed portraits – a bit like oldfashioned drawing from the modelit really helped me to train my eye

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and improve my technique – so I’m glad I put those hours in! What are you drawing today? Music are you listenig to? Books are you reading? Favourite artist/designer at the moment? I like to get back to drawing more realistically at regular intervals - and that is what I’m up to right now. Of course I’m also gathering inspo for the Fida awards 2021! I love patterns and bright colours so an artist I really admire is Matisse . “A book on fashion I can recommend is The Glass of Fashion by Cecil Beaton. At the moment we are all in need of a bit of escapism - I’m thoroughly enjoying the novel Shantaram by Gregory David Roberts, set in India.”

Elements and possibilities of design Opposite page: Alberta Ferretti Milan Fashion Week 2021

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Walk through the imaginative, Narnia wardrobe of fashion illustration

This page: Alberta Ferretti Milan fashion Week 2021 Opposite page: Bvlgari 2021

FIDA . The Fashion Art & Drawing Magazine

Walk through the imaginative, Narnia wardrobe of fashion illustration

This page: Alberta Ferretti Milan fashion Week 2021 Opposite page: Bvlgari 2021

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Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

SARAH PLAUMANN

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

Ink on watercolour paper This page: Hermes New York fashion Week 2021 Opposite page: Hermes New York fashion Week 2021

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

SARAH PLAUMANN Elements and possibilities of design

When did you first get into drawing? I can‘t remember it exactly, but already at school it became clear that painting and drawing suited me very much and gave me a lot of pleasure. Since then it has been a part of my life. Why did you choose to make fashion part of your inspiration? Fashion is a great inspiration for me because it is so versatile. The elements and possibilities of design come into their own here. The relationship to people is also very important to me. Fashion is a very diverse and exciting art in its own right. What is your particular working day as a creative? I have set myself fixed times. I paint every day if possible. It starts at 9 o‘clock in the morning and sometimes ends late at night around 10 o‘clock. You can learn creativity by always keeping at it. Painting often requires a lot of time and work, so a working day is usually longer than with other jobs. Because of the fixed times during the week, you are usually very productive and manage to complete the projects. If a day doesn‘t work at all, you have to accept that in the creative field, then I put down the pen (only if a deadline allows it) and continue the next day with new energy. What tools do you use when creating your images? I always prefer to work with very traditional painting techniques. I only use digital tools at the end to clean and purify the paintings. Drawing ink and acrylic as well as collages are my favourite tools. I like to see the materialist in a painting. Here a work can be given a lot of expression. Collages are also a part of my work, 46

because they allow a lot of space and variations. Mixing different materials is also an exciting field for my work. Who are what has influenced you over the years as an artist? I am influenced by different things, it can be a pattern, nature and different people. In art it is the impressionists and expressionists. I love this period of art with its colours, shapes, everything comes to life and blossoms in a new light. “Drawing ink and acrylic as well as collages are my favourite tools. I like to see the materialist in a painting. Here a work can be given a lot of expression. Collages are also a part of my work, because they allow a lot of space and variations. Mixing different materials is also an exciting field for my work.” What advice do you have for younger artists looking to be part of this industry? Well, if there‘s one thing I‘ve learned, it‘s that you always have to keep at it as an illustrator. You should keep trying until you find your style, which can sometimes take a while. Be patient with yourself and your work. When the time comes, you should follow through and not let yourself be distracted. Sometimes others might not like it, but you shouldn‘t let that get in your way. That is normal. Always keep at it and believe in yourself. Also you should constantly develop your work, it never really stops. What are you drawing today? Today I paint for Bulgari on behalf of Fida. It is a piece of jewellery that I am illustrating.

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design This page: Hermes New York fashion Week 2021

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

This Page & Opposite page: Bulgari x Fida 2021

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Elements and possibilities of design

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Wilew x Joanna Layla

WILEW x JO.LAYLA “Joanna, through her visual interpretation, has added an element of storytelling to our brand. She has captured the WILEW muse beautifully and brought her to life. This in itself has been inspiring.” Where did the name Wilew come from and how did the brand develop its vision? WILEW is a collaboration between myself, Lauren White, and my partner Cat Lewis. The name is an abbreviated amalgamation of our surnames. Both myself and Cat have design backgrounds, in fashion and graphics/art direction respectively. Having worked extensively with vintage (pieces) as a fashion designer myself, I have developed a deep appreciation for quality, and timelessness. Cat has an impeccable eye for colour, form and composition, and so WILEW is the result of our skills combined. The creation and development of the brand together is driven by our innate sensibility within our fields of work and interests.

As an art curator for fashion, how have you seen fashion becoming more critical with its vision and deeper connection to art as a practice and discipline? Fashion is entering a much more creative phase. This may sound ironic, as the term ‘fashion’ itself should instantly prompt the notion of creativity, however over the past ten years or so, we have observed the industry becoming increasingly commercialised and the creativity being somewhat lost. High street giants at one end, and high end, overtly ‘branded’ offerings at the other, have been key drivers in this. But the landscape is changing, and consumers are wanting more. Something more interesting and individual. Something also, with sustainability at its core. This, for us, is where art is re-emerging in all forms; be it a vintage piece, a reworked piece, or a piece of “wearable art”, the shift toward human connection, story telling and craft is becoming more evident in the output. You have numerous channels for exposure, Depop being a major part of your brand’s vision and backbone for ecommerce. Why Depop?...and now instagram and pinterest?

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Elements and possibilities of design This Page: “We are totally captivated by the latest dreamy illustrations @ joannalayla has created with our products.” Its been an absolute honour working with a talent like Joanna, her beautiful hand fits our aesthetic like a glove! We are always so excited to see how she captures our products and to share with you all

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Wilew x Joanna Layla

Social Media Live feed. This Page: 90s Lime Green Mini Satchel Bag beautifully depicted by fashion illustrator @joannalayla Opposite page: Legs and cowboy boots for days.... These green and black beauties have now sold but lots more to come this AW seaso illustration as part of a series by the super talented @joannalayla

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Elements Brand Collaboration and possibilities of design

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Wilew x Joanna Layla

As a small business, platforms such as Depop and Etsy have allowed us to present our brand instantly to an international audience.

The process has pretty much been an informal conversation, which for us, has been the strength of the collaboration.”

wondered how you found out about Fida and what is most interesting about fashion illustration/art for the future?

With the curated nature of our offering, this wider reach has been important for us in connecting with a broader customer base who are interested in seeking out unique pieces.

Has the response to the work been rewarding and how will you develop this relationship?

We discovered FIDA through our work with Joanna. We feel that Fashion Illustration has a bright future, this has only been accelerated by the pandemic. We now find ourselves living in a very different working world, and as a result of this people are craving a sense of escapism – to be drawn into an alluring story that bypasses reality. What better medium than illustration to capture this? We also feel that individuality and the desire for a unique point of view, particularly amongst Millennials and Gen-Z, are driving brands to review their creative output. This provides endless opportunities for fashion artists and illustrators, which is both interesting and exciting. Gone are the days of the carbon copy!

Instagram is our visual mood board; it’s where we not only showcase some of our product, but where we play with ideas, and offer some insight into the ‘WILEW world”. When selecting Joanna Layla, who has been a big part of Fida and an artist we recognise as important in fashion art going forward, explain how you found her and selected her to work with you? We came across Joanna’s work on Instagram and were instantly captivated. Her use of bold silhouette and colour are elements which are intrinsic to the WILEW brand aesthetic, and so we just knew we had to have her capture some of our pieces. In an era reliant on photography, how has this collaboration enhanced your vision? Joanna, through her visual interpretation, has added an element of storytelling to our brand. She has captured the WILEW muse beautifully and brought her to life. This in itself has been inspiring. WILEW x Joanna Layla “In terms of a brief, we didn’t give Joanna anything specific. As creatives ourselves, we believe a brief can be limiting and often stifling. Joanna explored our e-commerce platforms and social media mood board, and selected pieces from our collection that she was both drawn to and excited to interpret; the output was very much artist-led.

It has been very rewarding, both for us in seeing Joanna’s interpretation of the products and subsequently seeing the reaction from our followers. Our plans are ever-evolving, and can certainly see an opportunity to develop our relationship with Joanna in line with this in the future. Where do you see the relationship growing for fashion artists/ illustrators in the future? How do you think they could get more recognition and support from brands and more projects like yours? With remote working becoming more mainstream, and consumer demands for sustainability and the reduction of carbon footprint, we see an opportunity for Fashion Artists/ Illustrators to offer an alternative means to the traditional photoshoot; allowing brands to consider these factors in their presentation of collections and campaigns. What value does the illustrator bring to the brand and where else could you imagine illustrators getting involved with fashion brands? Put simply; Individuality. The ability to capture an essence, add an element of flair, and the ability to, quite literally, create new faces for a brand is the unique strength of the fashion illustrator. Armed with these tools, the potential for illustrator and brand collaboration is endless across many channels. “We feel that Fashion Illustration has a bright future, this has only been accelerated by the pandemic. We now find ourselves living in a very different working world, and as a result of this people are craving a sense of escapism – to be drawn into an alluring story that bypasses reality. What better medium than illustration to capture this? “ We love your work at Wilew and

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How has lock down affected your business in a positive way and enhanced your way to think differently during the period of isolation? Lockdown has really helped us to re-focus and re-connect. Our initial WILEW offering included clothing alongside the accessories and footwear, however the time allowed us to reflect and consider our direction, and for AW20 we decided to hone this. We have since seen the brand experience its most successful period to date. https://www.depop.com/wilew

Brand Collaboration

This page: The WILEW muse, so compellingly illustrated and brought to life by @joannalayla, featuring our statement buckle vintage mock croc belt.

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New ‘School’ Kool

JOSHUA MARSHALL David Hockney has to be up there for me. I’ve always admired his work from a youngish age. All his work inspires me, his very early pencil work all the way through to his later digital images. He’s probably my all time favourite, what a career!

Josh Marshall decodes his work with Patrick Morgan When did you first get into drawing? I’ve been drawing as long as I can remember, I used to enter lots of football kit design competitions from magazines, pretty much magazine competitions is where I started out. A very early memory was actually

This Page: Carhart Opposite page: Japan fashion Week 2021

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wining a Thundercats colouring competition, the prize was ‘a life time supply’ of refresher bars. Which apparently is about 50 bars, much to my mother’s delight. Why did you choose to make fashion part of your inspiration? If I’m honest, I never really started out in fashion illustration, I started out storyboarding for advertising, I’ve ‘storyboarded’ for years and there’s definitely an overlap in the industry. My illustration agency also decided to specify their target audience towards fashion, which I was more than happy to adapt too. My style leans towards portraiture and narrative which I’ve got from storyboarding, I always try and incorporate those elements into my current work. I love the freedom of fashion illustration,

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

New ‘School’ Kool This page: Hermes New York fashion Week 2021

JOSHUA MARSHALL

Opposite page: Hermes New York fashion Week 2021

New ‘School’ Kool Interview

everyone’s styles are so varied it’s great! The lack of conventional rules really pushes my work on. What is your particular working day as a creative? You realise quickly you have to keep a strict routine, which I love because I’m a creature of habit! I’m an early riser so It definitely starts with a coffee and taking the morning in slowly, I like to warm up sketching before everyone wakes up, it feels like free time before the working day starts. Then 9am I knuckle down answer a few emails, if I have a project I’ll start straight away and probably won’t break until 5ish. I’ll just be drawing all day, I have to really try hard to do anything else. I’d quite happily exist in my own little world drawing all day. It’s possibly not the best advice but it keeps my productivity high. I do workout and eat occasionally. What tools do you use when creating your images? It depends really, when I started off at uni, everything was painted, hand drawn etc, I didn’t even own a computer at the time. Now I steer towards photoshop with a Wacom tablet, I’ve really got into procreate on the iPad this past year, it just works so well. Everything’s always evolving, technology is getting more and more realistic. I love the freedom of the iPad. Saying that I did buy a load of water colours paints the other week, it’s always nice to feel like you made something with raw materials! It doesn’t feel like cheating as much. That’s just 58

my hang ups. Though I’ve always thought illustration is about the final image it doesn’t really matter about the materials or the journey. It’s a cliche but I think the idea is always stronger than whatever programme or materials you used to get to the final image. Who and what has influenced you over the years as an artist? Straight away I think of Mac Conner, he’s an old school storyboard artist, one of the ‘madmen’ era guys. His characters and compositions, his use of colour is in my opinion unbeatable. Everything he puts down is so perfectly positioned it draws the eye to the narrative. Even the use of negative space is integral to the story he captures. I remember going to see an exhibition of his work at the house of illustration in London, I wanted to of had those ideas! David Hockney has to be up there for me. I’ve always admired his work from a youngish age. All his work inspires me, his very early pencil work all the way through to his later digital images. He’s probably my all time favourite, what a career! Richard Diebenkorn is another I remember going to an exhibition and been blown away by the compositions and use of texture. I really think you need to see those paintings up close to admire the thought process. They are the big ones, but looking through Instagram and seeing some of the work produced on there, even by people who have just started,

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there’s a lot of talented artists out there! It can sometimes be overwhelming. ‘You gain so much from other professionals and learn what’s expected from you, meeting people in the industry is how I got my first breaks in illustration. I guess I got into illustration the long way around but got ‘there’ in the end. Just don’t let go of your end goal even if you’re taking the scenic route.’ J.Marshall What advice do you have for younger artists looking to be part of this industry? Have a day job! I’m joking but seriously it’s not easy ‘breaking through’ I wouldn’t be so sure there’s even such a thing. I remember leaving university after studying illustration for 4 years thinking it would be straightforward. It wasn’t. I’ve worked a lot of different jobs to even get to where I am now. I was a painter and decorator for 3 years before getting into storyboarding and illustration. I do value working hard to get to where I am now as looking back I can see the progression. I was always focused on becoming an illustrator even when I was armed with a roller and a tin of magnolia emulsion. I started in the creative industry as a storyboarding agent, working closely with a large group of storyboarding artists. It was an incredible way to learn and grow within the industry. You gain so much from other professionals and learn what’s expected from you, meeting people

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Elements New ‘School’ andKool possibilities of design

FIDA . The Fashion Art & Drawing Magazine

New ‘School’ Kool

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

New ‘School’ Kool This page: Hermes New York fashion Week 2021 Opposite page: Hermes New York fashion Week 2021

in the industry is how I got my first breaks in illustration. I guess I got into illustration the long way around but got ‘there’ in the end. Just don’t let go of your end goal even if you’re taking the scenic route.

I love a good book (audiobook) some recent favourites include; American Dirt, Where the crawdads sing, The Dutch house, The Shining, Cannery row and Desert Solitaire.

What are you drawing today? Music are you listening to? Books that you are reading? Favourite artist/designer at the moment?

Favourite artist at the moment, an artist I’ve only just been introduced to... Isao Yajima, the character an expression in the line work pulls you in, the line perfectly describes the feel of the fabric he depicts and the movement of the clothing over the body. I love discovering new artists without sounding too pretentious it’s like finding a new friend that you can learn from. Studying the line carefully can help advance your own work.

I’ve just completed a big project so I’ve been working on a few personal projects. A free day is never free! I find working from home can be quite solitary so I tend to listen to a lot of podcasts and audiobooks when I’m working, my favourite podcasts are; Stuff You Should Know, Darknet diaries, Serial Podcast and Ear Hustle.

FIDA . The Fashion Art & Drawing Magazine

MAXIM SERGEEV The Interaction of Colourful Chemistry

The Interaction of Colourful Chemistry Maxim Sergeev has no special art education as such. By education, he is a physicist-mathematician and economist-marketer. Maxim started drawing only after 30 years, when the first graphic tablet accidentally appeared in his hands. So he origins for drawing was digitally first. For a long time he combined painting in the evenings with his main work and was careful not to repeat the work of the then-famous digital illustrators of the moment. Gradually, in the process of drawing, an intuitive understanding of the lines, of proportions and colour appeared. After several years of drawing in digital Maxim became interested in the pinup genre, in particular, the works of Elvgren, and then more gradually while looking for suitable new reference material. Maxim then came across the work of famous fashion illustrators Gruau, Lopes and Downton. He was instantly captivated by the lightness and airiness of their illustrations and materials, and he began to become more deeply interested in the theme of fashion illustration. Following in the footsteps of these artists, he first tried to draw with traditional materials, watercolours, gouache and pencils. 64

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It turned out to be materials so close to my sensations, that he still draws with them. He doesn’t how to demystify or explain this feeling, but his love of traditional materials, was akin to the first direction of illustration in which he applied them, so for him fashion illustration and traditional materials are now synonymous, one without the other is impossible for him. When Maxim gets to work, he already imagines in advance the colour scheme and the style of his future illustration. In his work, he tries to combine different styles and materials, the ease of watercolour fills and rough pencil lines, rich areas of gouache and sharp inserts of magazine clippings. He tries, as in chemistry, to neutralise one element with another. In fashion, as in any other direction, he love creators with a unique creative vision such as Alexander McQueen, Iris van Harpen in fashion, Egon Schiele and Gustav Klimt in painting, David Lynch and Alfred Hitchcock for cinema. He draws every day, even if it’s not a big illustration, usually it’s 10-20 quick sketches for 5-10 minutes, transferring the texture of the fabric, poses, and facial expressions. These quick sketches help a lot in developing your own style and warming up for the upcoming fully-fledged illustration.

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The Interaction of Colourful Chemistry

MAXIM SERGEEV The Interaction of Colourful Chemistry

When he has the opportunity, Maxim attends various drawing workshops, but more often he organises them himself. Maxim preferred that they have a light friendly atmosphere with a lot of communication, humour, when everyone can see and comment on the work of the other. In his personal works, the general style of illustration, the colour scheme, and even the materials used may depend on many factors, such as time of day, the weather and even his mood. Initially, the collage for him was a break from the basic style of drawing, making collages from clippings of glossy magazines on large canvases. Over time, he decided to combine both of these areas. Although sometimes uses coloured paper in collages, preferring to cut out magazines when they have some kind of content and idea. In the near future, the exhibition in the Acid gallery will feature his work and the work of fashion illustrators from all over the world. Training courses on illustration are being recorded, some of them are now being translated into English. Maxim will continue to conduct full-scale master classes 66

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in collaboration with Russian fashion designers, stylists and models. There will also be Interesting collaborations with fashion designers and brands... And a lot of projects that he can talk about later. Maxim likes most other areas of illustration, in his opinion, fashion illustration is becoming more and more popularised and influential. The world will learn more and more of new illustrators names from around the world.Thanks to tools such as instagram, illustrators from around the world can express themselves, their unique style, vision. Some time ago, photography surpassed drawing in the world of fashion, but now more and more fashion designers are beginning to collaborate with illustrators, invite them to shows, use live drawing at events, and in his opinion this trend will continue.

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Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

KELLY BAILEY WRITING’S ON THE WALL Opposite page: Alberta Ferretti Milan Fashion Week 2021 FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

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Writing’s on the Walls

KELLY BAILEY Writing’s on the Walls Interview

Opposite page: Alberta Ferretti Milan Fashion Week 2021

When did you first get into drawing? Drawing has been a part of my life for as long as I can remember, I have early childhood memories of pleasing my teacher with a painting and also drawing all over the walls at home much to my mother’s distress! I later attended Art School where I continued to develop my hand via lots of drawing, life classes, mixed media approaches and professional experiences. Why did you choose to make fashion part of your inspiration? Along with drawing, I would say I have been attuned with fashion and clothing early on in my life, but I never made a conscious decision to align my creative practice to it, it just happened. I would say my mentors led me on this path from the early days of Art School and then my interests in the fashion industry as a whole grew from there, drawing and designing prints for fashion when I moved to New York, as part of this I would immerse myself in editorials and runway shoots as well as enjoying viewing collections in Barneys. What is your particular working day as a creative? My day tends to start with checking emails, admin and research, setting up thoughts for projects, open calls and personal work, I also work as a lecturer which consumes half the week. I tend to work on illustrations at night, it’s when I can clear my head and focus. After gathering my inspiration, I work quite quickly, which is a result of working to tight deadlines for years.

What tools do you use when creating your images? Generally, my process is a hybrid of hand and digital methods, I start with pencil and paper, sometimes an ink sketch as well as ink washes and textures as backgrounds and infills. Then after scanning I continue to render and colour using Photoshop to complete the illustration. I find the freedom of combining both the haptic and digital processes exciting, there’s a spontaneity involved through the editing process, I try not to plan the final piece too much and allow for experimentation and surprise. Who or what has influenced you over the years as an artist? My teachers/lecturers from school and Art School as well as being blessed with wonderful professional mentors. I have also had a fascination with figurative painters such as the Pre-Raphaelites, Degas, Egon Schiele, Hockney among others and I have spent many an afternoon at the Tate Britain and National Portrait Museum completely in awe of these artworks. “Confidence is key, believe in yourself and your aesthetic and others will believe in you too. In addition, don’t shy away from critique, my tutors at university were really tough, and I am so thankful to them as it prepared me for life in the fashion industry.” K.Bailey What advice do you have for younger artists looking to be part of this industry? Confidence is key, believe in yourself and your aesthetic and others will believe FIDA . The Fashion Art & Drawing Magazine

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Writing’s on the Walls

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Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Writing’s on the Walls

in you too. In addition, don’t shy away from critique, my tutors at university were really tough, and I am so thankful to them as it prepared me life in the fashion industry. What are you drawing today? I’m currently working on a set of illustrations for Bvlgari - a project via FIDA. What music are you listening to/books are you reading? Favourite artist/ designer at the moment? I’m listening to Lana Del Rey, Foo Fighters (always!) and currently enjoying a bit of Fleetwood Mac in the car! The designer I always return to is Dries Van Noten, the collections are a constant inspiration be it the colour, pattern or reinvention of archival references. More recently the relaunch of the Schiaparelli brand and avant garde aesthetic under the direction of Daniel Roseberry is truly inspiring. My best friend and fellow creatives, enjoy loading me up with books, recent additions are Threads of Life by Clare Hunter and Wheesht by Kate Davies.What tools do you use when creating your images? In Japan, I discovered the properties of handmade paper, Each sheet has its colour, personality, roughness and imperfections. However, all of my research focuses on matter or rather on materials. To represent skin as well as muslin, fur, leather, embroidery, diamonds or linen I’m applying a complex mix of techniques. I’m using multimedia with a predilection for the association of abstraction and precision, interlacing pencil line with watercolour, combining transparent Aero-spray with opaque paint or pigments with ‘Liant’ binder. with all the techniques that I’ve appropriate myself during all these years I have the choice to pick the most adequate medium to express myself. The lines are executed in pencil, brush or pen, with a broad gesture or, on the contrary, with great thoroughness. Who or what has influenced you over the years as an artist?

Opposite page: Bulgari project 2021

After graduating with a Master degree at Artez (Acadamy of arts) I left Holland for France to discover the world of Parisian elegance that influenced my work as an art-director, designer and fashion illustrator.

I was inspired by the french women. As Arsène Houssaye said, “A Parisian woman is not fashionable. She is fashion.” As a designer I learned to understand the garment and the fabrics but I also learned to observe. In the beginning my illustrations were a tool to express my ideas which has been primary to my career as a fashion-illustrator. Strong ties to Japan began 20 years ago when I started to work for Vogue Japan and a Japanese fashion brand. The boss of the company I was working for showed me his rare collection of 17th19th century original Japanese “UKIYO-E (woodblock prints) from artist such as Hokusai and Hiroshige, dramatic kabuki actors by Sharaku and Toyokuni, and elegant beauties by Utamaro. I went to an art supply shop in Tokyo and bought handmade paper and Gansaï paint and I will never be able to do without. What advice do you have for younger artists looking to be part of this industry? Most important is to believe in yourself. I have been seeking for years to finally realize myself that I knew it already when I was 6. Today it’s easy to get lost in this overwhelming cyber world and my best advice to young artist is to be inspired by the real things that are happening in front of your eyes and to go out and chase 3-dimensional experiences instead of focalizing on what others create on the flat screen. See, taste, feel and keep close to you intrinsic values and beliefs, close to what you really are. What are you drawing today? Music are you listening to? Books that your are reading? Favourite artist/designer at the moment? At this moment I’m painting portraits of 10 different ethnical women ( beauty lies in every origin) and they will be exposed during a group exhibition called; « Face to face » Gallery L’Angelus 36 bis Grande rue 77630 Barbizon France, 12 dec - 17 January And in the little time that there is left on the day I go for nordic walking in the Forest of Fontainebleau to keep my mind focussed positively and I listening to beautiful music while I’m cooking good food and drinking great wine to reward my self for hard working ... ( one of my favourite songs is « Landslide” of Fleetwood Mac )

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Interview

NICOLAS ROA ‘IT ALL STARTS WITH PENCIL AND PAPER.’

Opposite page: Coloured pencil on paper

FIDA . The Fashion Art & Drawing Magazine

Interview

NICOLAS ROA ‘It all starts with a pencil and paper’

When did you first get into drawing? Opposite page: Figure drawing on paper

I’ve been drawing for as long as I can remember. Growing up, I was always leF alone at home with only a bowl of cereal and my drawing materials. I’d spend hours and hours drawing while watching cartoons. Even at school, I’d draw on all my textbooks and even on my desk. Why did you choose to make fashion part of your inspiration?

My influences have always been Laura Laine, James Jean and a liSle bit of Arturo Elena. I am also a huge fan of the works of Hsiao-ron Cheng and Ozabu as well. What advice do you have for younger artists looking to be part of this industry?

Fashion has always been a part of my life. My mom was a model back in the day and my great grandmother, who helped raise me had a massive walk in closet filled with fabulous dresses and jewelry. So I guess you can say I was exposed to it my whole life. Merging the two things that I love most, Art and Fashion just came naturally.

I think it’s always important for younger artists to focus more on their work and not the number of likes they get on social media. I’ve learned that these past couple of years, I tend to ignore the likes on my art and engage more to the people who actually reach out on my DMs and express their love for my work. It inspires me to keep creating and gives me more motivation to make each piece better than the last.

What is your particular working day as a creative?

What are you drawing today? Music are you listening to?

These days I just wait for inspiration to hit me and then start creating. I spend most of my day going through fashion archives, Instagram and coffee table books about fashion design until I find something I’m inspired by.

Books that your are reading? Favourite artist/ designer at the moment?

What tools do you use when creating your images? I always start with pencil and paper. As much as I’d like to do everything digitally, I’m just never happy with the end result. After scanning, I colour and edit the illustration with photoshop. My process may take a lot longer, but I find the entire ritual to be very therapeutic and I personally feel that the end result perfectly captures my vision and aesthetic. 78

Who are/what has influenced you over the years as an artist?

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I am currently drawing a lot of things at the moment. I want to go back to the roots of my fashion illustration aesthetic where I merge fantasy and surreal elements with fashion. I am and will always be listening to Lana del Rey but currently obsessed with Caroline Polachek and Winona Oak. I read a bit of poetry from Lang Leav. The designers I’m currently in love with are Robert Wun and Miss Sohee.

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Interview

NADIA COOLRISTA KEEPING HER COOL How did you come across the Fida awards, and why did you apply?

I found the Fida community and Fida Awards through Instagram and immediately knew that I wanted to be part of it. Before Joining, I did not really consider myself to be a fashion illustrator because at that time I was more focused on educating others on how to best draw the human face and body. However, I do have some experience in illustrating and if you look at my portfolio of work closely, you would see that my artistic style complements the medium very well. I applied only after doing a bit of research to understand what Fida is and exactly how it support and promote its members. I saw the excitement and fanfare Fida’s awards and competition generated and for those reasons I wanted to give it a try. What made you select the image you did to enter the awards? Before the competition, I already had a few ideas for my next project. I knew I wanted to create something fresh and bold and I feel like my submission highlighted that — it was simple, i found the subject to be very striking and captivating, and I was able to demonstrate my skills of using digital medium.

How did you feel about winning the awards with all the artists and judges from the industry selecting your work? I felt incredibly honoured and humbled. Winning the award among the many other talented illustrators meant a lot, and helped reinforce in me that I was on 80

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the right path. I was especially interested in receiving and hearing the critique of my work from professionals and authoritative figures within the industry. Especially after winning the Celine Dion ”Draw an Icon” competition a day before. It was a fantastic feeling, and very emotional! Now I feel even more confident. What is your normal day of working as a fashion illustrator? Basically, I draw every day, normally during night time. I get my inspiration from fashion shows, fashion magazines, fashion photographers, models and odd things around me from time to time. I wouldn’t say I have a lot of work as a fashion illustrator however I do have a lot of self-initiated work for promoting myself as a fashion illustrator to help get the attention of the companies, designers and creatives in the industry.

Explain your process and the space you work in? How do you use social media or other platforms? Before I start a new project, I generally already have a few ideas in my mind for what I would like to accomplish. Sometimes for inspiration I would go through my saved references on social media (always Instagram and Pinterest) and try to conceptualise how best to transfer my vision on paper or digital device. I try to think about how it would look, how bold, or beautiful, or how romantic, while still maintaining a strong and energetic composition. I also think about the process of recording the video, and how best to present my idea and vision to my followers.

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Keeping her Cool

‘Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.’ A.Warhol The space I work in is actually a tiny corner in my bedroom. I managed to put it together the way that I don’t have to show the rest of the room. I always work in my little paradise, as I have all the necessary tools and equipment to create. Here I always feel energised and inspired.

Do you have any advice for future Fida Artists entering the awards?

Instagram is my forever favourite out of many others social media. I used to use as many social platforms as I could. I would put inspiring or educational videos on Pinterest, Behance, TikTok, I even created a YouTube channel (I promise, I still want to improve it, just lack of time). I’ve gained a quite a decent amount of followers on some of the platforms. It helps me to gain a following on Instagram which is my primary platform because it’s all linked.

Are you doing anything at the moment and can you share?

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I would recommend working with what best inspires and motivates you. Don’t compare yourself to other artists, just do you, and do your best.

Currently, I’m setting up my brand new website www. coolrista.com where people can see my portfolio and can also buy the originals and prints

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This Page: Andy Warhol - DIFA AWARDS FIDA . The Fashion Art & Drawing Magazine

Keeping her Cool

This Page & Opposite page: Alberta Ferretti Milan fashion Week 2021

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Keeping her Cool

This Page Tilda Swinton Portrait Opposite page: Difa Awards Finalist 2020

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Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Hossein Borojeni

The Canonisation of Beauty Through Drawing. When did you first get into drawing? I have always drawn, probably like every kid. The only difference: both my parents are artists, so I was quite free, even encouraged to draw. They didn’t bind me when I started to draw on the walls but they repainted the whole apartment a few years later because all the walls were drawn up to 90cm. Later when I was 11, I began to study more seriously the drawing by copying the Renaissance masters and trying to learn anatomy bases... because I saw a drawing of Picasso when he was a kid, and he was much better than me ! Why did you choose to make fashion part of your inspiration? I think the todays fashion aesthetics are in a way the heir to the antique art and its canonisation of the beauty; Kate Moss is the new Venus of Milo. The idealised human body was the main inspiration of 88

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the Greek antique art and later the Italian Renaissance. Abandoned by the official art today, fashion has made the body its main concern and controversies. What is your particular working day as a creative? A particular working evening would be more appropriate as I am not an early bird. I begin everyday by losing a lot of time reading my emails and other uninteresting endless staffs. Then when it’s too late I only begin the creative work. More seriously, I take often more time to analyse and do researches for finding inspirations than the time I need to execute it. What tools do you use when creating your images? I use mostly ink and watercolour but also digital tools like Ipad pen and of course Photoshop. Who are what has influenced you over the years as an artist?

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

The Canonisation of Beauty Through Drawing

Of course my father and Leonardo Da Vinci when I was a kid.

What are you drawing today? Music are you listening to? Books that your are reading?

Actually the first fashion illustration I saw was in the 90s, when I was 15 years old. It was a huge poster in the front of Les Galéries Lafayette in Paris. Recently I learned that it was drawn by Mats Gustafson.

I didn’t draw today but I am going to go tomorrow to a life drawing session. It’s the best way to keep practicing drawing and anatomy.

Many years later, about 10 years ago, I saw a gift card at Printemps Haussamann, the other Parisian Grand Magasin! It was beautifully illustrated with a mysterious woman silhouette. It was a revelation. The drawing was by Aurore de la Morinerie. What advice do you have for younger artists looking to be part of this industry? Keep another job beside while starting because it’s really hard to start living only by art. Produce a lot, then choose. Practice drawing and learn classics, even if your style will not be classic. 90

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I listen to the Italian music that my wife, Bahar, is listening beside me while working. She is also illustrator, much more talented than me. Don’t miss her work: @ baharillu I never read books, only look at the illustrations inside ;-) Favourite artist/designer at the moment? Banksy

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CONNIE LIM Eternal Springtime comes to town

“I loved drawing the human form and trying to capture emotions through posture, the expression on the faces, and using the clothes to express more of who the character was”. Connie Lim PM - I found you via Instagram and see you are from LA and london. Can you explain your background and your journey through the arts up until today. CL - Growing up, I’ve always drawn women and I am not sure as to why. I think I was just around woman when I was younger but it seems like the female form has been a running theme in my work even up until now. I first started at University in Los Angeles at Art Center College of Design where I studied illustration. I originally wanted to do character design for the video game industry. In the course, it was mandatory to take fashion illustration class to understand garments and styling. I fell in love with this class as I discovered beauty in the character and how clothes could express these attributes. It was our final project where the theme was Deck of Cards and I illustrated the 4 Queens in a fashion context. It was a project I very much enjoyed and after leaving university I aimed to finish the whole deck. I hand illustrated 54 drawings then added them into the card format. I put the project up to be crowdfunded by Kickstarter and was successfully backed! Since the publication of the deck, I have been featured in many magazines and blogs such as Harper’s Bazaar and Dazed and Digital. Since Art Center, I moved onto Central Saint Martins in London to learn fashion design as I wasn’t confident enough to be a full time illustrator. I thought I could get a job in design and just draw as a hobby. But as it turns out, I wasn’t particularly fond of designing but enjoyed the drawing aspect the most. Also, I was in 92

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London, one of the most creative cities and it has most definitely made an impact on my work and influenced my drawing style. I began to do lots of life drawing both fashion and themed sessions. I started to realise I loved drawing the human form and trying to capture emotions through posture, the expression on the faces, and using the clothes to express more of who the character was. Fashion became a major form of illustration that I wanted to express. Thus through my illustration and fashion background, I combined my knowledge on the two subjects. It has spurred me to experiment more with different mediums and combine techniques in the coming years via personal work, industry work, and most importantly life drawing. And it has been something I have been doing ever since! PM - Many artists are quite nomadic due to social media? How has social media assisted your profile. “I started to make a website and upload my work onto MySpace and then later on Facebook” CL - When I was growing up, I didn’t have a phone until I was in high school. The internet was dial up and so when someone picked up the phone you would be cut off from the internet! I find those memories quite funny as it’s a different world now. I think in my generation we acquired a fascination for the world wide web - it was something completely new to the life that pre existed it. It was not long until blogging and tumblr became the ‘it’ thing. I was in university studying illustration and I guess it was good timing. I started to make a website and upload my work onto MySpace and then later on Facebook. I also started to e-mail trend websites like Trendland, Dazed and Digital, I <3 Illustration. I got picked up by lots of these websites who started to feature my

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Eternal Springtime comes to town

“The tactile analogue feeling of making a paper hat or a dress out of masking tape took me back to my pre-internet days where I would just make things without worry.” Fashion Playing Cards, a series I was working on and I guess my journey as a fashion illustrator started there. My work was blogged and reblogged and so I became known a bit and that was the power of social media. Then instagram came along and while I got on the bandwagon a bit late - I still got on! Through the use of instagram, I have been able to have a platform to share my work. It’s such a great tool to get your work out there - most of my clients come through instagram. PM - I have been looking into your life through social media. What do you do opposite to art to switch off. CL - I am from Los Angeles and we love to go out dancing and listening to music. Dancing and music is a big culture where I am from and you learn from a young age. I am quite lucky to be in London as London has a big music scene. I guess because what we do is so intimate and personal, I like to contrast my life by socializing and going for a night out at a gig to get the full spectrum of experiences. PM - you do lots of life drawing? Why? And the class you attend is very interesting how did you get involved? CL - Life drawing is my passion and you could almost say my life! It encompasses all the aspects of life that are essential and good for the soul. When I am life drawing, I am forced to be in the moment - it is just me, the model and my paper and pen. I have 10-20 minutes to do the model justice and in those moments there is no room for the ego to get in the way. It’s a very honest approach to be present. There is no time to worry about the past or the future.. and for me that is the thing that makes it worth waking up every morning, it’s therapy. “I found this tight knit community in London, the life drawers.” Another aspect of it that I love is the community. We are in the room together participating in the same activity and enjoying each other’s company. It’s nice to have people you share a common ground with a love for drawing, you feel a sense of bonding because we get each other. After each life drawing session, it’s tradition, to have all our works out so we can all see what we have done. It’s a lovely way to celebrate our differences as humans, we draw the same subject but

have different outcomes on how we have perceived the model. I found this tight knit community in London, the life drawers. I have been teaching at universities for a while now and I am constantly meeting new models and other fellow lecturers. Via the models, they invite me to come to their other gigs that they participate in and through these connections I found this fantastic community! They are like family to me now. PM - You are starting to break the page by collaging and experimenting. What is the importance of play in your work and mixing old traditional techniques. CL - I started with traditional drawing with pencil since university and dabbled with gouache and paints here and there. But I felt that in order to truly know one medium to its full potential, I needed to give it at least a year. Every year I chose a medium such as watercolor, brush pen, markers, tackling colour with colour pencil, and so on and dedicated just exploring their potential. I started to build a repertoire of mediums in my skill bank. By giving the medium time and patience, I developed my own way of using it and I think that’s how you build your own identity. “The tactile analogue feeling of making a paper hat or a dress out of masking tape took me back to my preinternet days where I would just make things without worry.” Last year, I started toying with the idea of collaging and adding 3D elements. I guess in part I got bored of the 2D, even if I felt I hadn’t mastered it. Also, I had to teach my students experimental fashion illustration and so I had to do it myself in order to teach it. Once I started it, ideas started to flow into my head and I began to really enjoy the process. The tactile analogue feeling of making a paper hat or a dress out of masking tape took me back to my pre-internet days where I would just make things without worry. I realised that maybe it’s my longing for something real that I can physically feel in my hands within the realm of the world wide web that so dominates our daily lives...

FIDA . The Fashion Art & Drawing Magazine

Elements and possibilities of design

FIDA . The Fashion Art & Drawing Magazine

Eternal Springtime comes to town

“It makes me excited to draw and it is the biggest challenge to capture all the beauty”

PM - film and animation could bring your work to life? Bringing drawings to life is a big step for illustrators? Usually moving into photography? You photograph your work, is it fast or well curated. CL - Scale is an idea I’ve been toying with for a while and is something I will explore quite soon once I’ve nailed the collage and context aspirations. Taking photos of my illustrations helped me think about scale and how I can play with perspective. The photos of my illustrations were a project I’ve collaborated with my friend Carina. We went to Paris just to do it for fun and see what comes out of it. We walked around Montmartre and just spontaneously started placing them in random places and started shooting - so it was very quick. It was a test photoshoot for my upcoming project with my 6ft tall life size girls! Whom I would like to take all over the world and do photoshoots in different cities. I want it to be like a real photoshoot for a real fashion magazine. However, once I exhaust this idea - I am thinking of 3D scanning my illustrations to see what happens and it’s a common thing now at the moment. It would be wonderful to scan them and 3D print them as a real lifesize being..

CL - A colleague at work has let me know about Fida and I thought why not? It’s just a nice way to get involved with something you’ve been doing for a while and it’s that sense of community again - bringing people together who have a common belief. I am also trying to work on my visibility as an artist and thought it would be a great way to get yourself out there. “It makes me excited to draw and it is the biggest challenge to capture all the beauty”C.Lim PM - can you tell me your favourite place to sketch and draw. What food makes you happy or drink while drawing? CL - My favourite place to sketch is probably Drawing Cabaret Couture with Janet, Amy, and Mathew who put on the best life drawing session in London that I have been to. The amount of production and thought that goes into it is incomparable. It makes me excited to draw and it is the biggest challenge to capture all the beauty they bring to the sessions. I will have a glass of wine but I am no good if I have more than that whilst I’m drawing!

PM - Connie lim finally what do you predict could be the future of fashion illustration.

CL - I feel we will venture into Virtual Reality (something I have tried out) and really take fashion illustration out there. Fashion in garments and presentation is already out there and I’m sure there will be fashion illustrators expressing that through the VR medium. And then after that has been exhausted I feel it would come back to the analogue way. We are human and need the human touch and I’m such a big fan of the traditional artisan way. For me drawing is couture. “It’s just a nice way to get involved with something you’ve been doing for a while and it’s that sense of community again” Connie Lim PM - why did you see fida as a place to be part of? As you entered the competition? FIDA . The Fashion Art & Drawing Magazine

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Eternal Springtime comes to town

This Page & Opposite page: Acid Gallery Exhibition

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MARGOT VAN HUIJKELOM

Finding Perfection in the imperfections “Fashion is a great playground for a setting to draw and paint women. The representation of fashion on the catwalk is extremely dramatic and the exaggerated attitudes are inviting me to draw. The garment is a wonderful element to accentuate the attitude or the emotion.” by Margot Van Huijkelom by Patrick Morgan When did you first get into drawing? I knew from the time I was 6 years old that I wanted to become a fashion illustrator and painter. My mother gave me a roll wall paper and ink-pen and I would cover it all with line drawings. As a child, my best friend and I would create fashion magazines filled with our illustrations and sell them in our neighbourhood. Why did you choose to make fashion part of your inspiration? “Fashion is a great playground for a setting to draw and paint women. The representation of fashion on the catwalk is extremely dramatic and the exaggerated attitudes are inviting me

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to draw. The garment is a wonderful element to accentuate the attitude or the emotion.” The sensuality of the fabrics can hide or show the female anatomy as a reflection of her expression. Although female beauty can’t be reduced to the cloths she is wearing... What is your particular working day as a creative? I take pictures of everything I see and that is inspiring me, my daughter’s expressions, the frost in the forest, people passing by, the haute couture shows, a waving skirt... I’m sketching them and hang them on my mood board as a huge patchwork of ideas. I will choose a sheet of handmade paper with its subtly grain and prepare my mediums. I will experiment with all the vibrant pigments and mediums that I could use to express the essence of the subject. I will study how delicate brushstrokes could be combined with textures on the handmade paper. But, before starting to apply I will scratch away and grasp my brushes before grasping the character, Immersed in a concentration bordering on meditation. “Because if my line deviates one millimetre I have to throw that drawing away...

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Finding Perfection in the imperfections

“In Japan, I discovered the properties of handmade paper, Each sheet has its colour, personality, roughness and imperfections. However, all of my research focuses on matter rather than on materials.”

Opposite page: Ink on Paper

What tools do you use when creating your images? In Japan, I discovered the properties of handmade paper, Each sheet has its colour, personality, roughness and imperfections. However, all of my research focuses on matter or rather on materials. To represent skin as well as muslin, fur, leather, embroidery, diamonds or linen I’m applying a complex mix of techniques. I’m using multimedia with a predilection for the association of abstraction and precision, interlacing pencil line with watercolour, combining transparent Aero-spray with opaque paint or pigments with ‘Liant’ binder. with all the techniques that I’ve appropriate myself during all these years I have the choice to pick the most adequate medium to express myself. The lines are executed in pencil, brush or pen, with a broad gesture or, on the contrary, with great thoroughness. Who or what has influenced you over the years as an artist? After graduating with a Master degree at Artez (Acadamy of arts) I left Holland for France to discover the world of Parisian elegance that influenced my work as an art-director, designer and fashion illustrator. I was inspired by the french women. As Arsène Houssaye said, “A Parisian woman is not fashionable. She is fashion.” As a designer I learned to understand the garment and the fabrics but I also learned to observe. In the beginning my illustrations were a tool to express my ideas which has been primary to my career as a fashion-illustrator. Strong ties to Japan began 20 years ago when I started to work for Vogue Japan and a Japanese fashion brand. The boss of the company I was working for showed me his rare collection of 17th19th century original Japanese “UKIYO-E

(woodblock prints) from artist such as Hokusai and Hiroshige, dramatic kabuki actors by Sharaku and Toyokuni, and elegant beauties by Utamaro. I went to an art supply shop in Tokyo and bought handmade paper and Gansaï paint and I will never be able to do without. What advice do you have for younger artists looking to be part of this industry? Most important is to believe in yourself. I have been seeking for years to finally realize myself that I knew it already when I was 6. Today it’s easy to get lost in this overwhelming cyber world and my best advice to young artist is to be inspired by the real things that are happening in front of your eyes and to go out and chase 3-dimensional experiences instead of focalizing on what others create on the flat screen. See, taste, feel and keep close to you intrinsic values and beliefs, close to what you really are. What are you drawing today? Music are you listening to? Books that your are reading? Favourite artist/designer at the moment? At this moment I’m painting portraits of 10 different ethnical women ( beauty lies in every origin) and they will be exposed during a group exhibition called; « Face to face » Gallery L’Angelus 36 bis Grande rue 77630 Barbizon France, 12 dec - 17 January And in the little time that there is left on the day I go for nordic walking in the Forest of Fontainebleau to keep my mind focussed positively and I listening to beautiful music while I’m cooking good food and drinking great wine to reward my self for hard working ... ( one of my favourite songs is « Landslide” of Fleetwood Mac )

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MANON CARDIN Opposite page: Fida Awards Winner 2021 Artwork

“I am a French artist based in the countryside near from Paris. I have studied drawing, photography and engraving during several years at les Beaux-Arts and after my diploma I decided to continue my studies in fashion. After working few years as designer in fashion industry I am now sharing my time between freelance illustrator and fashion drawing teacher. Today my clients are very diverse, to famous customers from little brands. Living in Paris was very intense and I am very happy to reconnect with nature and peaceful area. I draw my inspirations in colours, shapes, history of art, travels, cinema and also flowers, trees, beautiful landscape... What give me happiness in this work is to work why so many different clients and type of projects in my own studio. I am also very happy to see how fashion drawing has resurfaced for a few years. It gave me hope for the future of this practice. “

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MARTHA ZMPOUNOU Martha Zmpounou is a visual artist based in London. In her work she blends different techniques and media, working mainly with watercolour, ink, acrylic and collage. Using portraiture and the human figure as a territory for exploration, her works appear fluid, fragmented, half complete even grotesque, balancing between beauty and repulsion. Drawing from the fashion and pop culture, covering, masking and layering are deployed to create figures and faces whose identities emerge out of a play of hiding and revealing. It is an instinctive process of working where destruction is seen as a means to create. It often involves reworking and painting over previous drawings, cutting and reassembling sketches, fragments of paintings and found imagery. These are combined, modified and rearranged creating figures, assemblages with their parts disparate and at once connected. Zmpounou holds a degree in Fine Arts and an MA in Painting from Aristotle University of Fine arts and an MA in Illustration from Central Saint Martin’s College of Art. She has been awarded several awards including 110

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the De Laszlo Foundation Award from the Royal Society of Portrait Painters, the Secret Art Prize, and she was shortlisted for the Jerwood Drawing Prize and the Ashurst Emerging artist Prize. Her work has been exhibited and published widely in the UK and abroad and is part of collections in London, Stockholm, Berlin and Greece. Some of her group exhibitions in the UK include the National Open Art Competition, Jerwood Drawing Price, the Royal society of Portrait Painters, the Royal Institute of Watercolor Painters, The Sunday Times Watercolor Exhibition, the Royal Society of British artists, The Threadneedle Prize, the Discerning Eye, Modern Panic III, Xhibit and AOI’s best of British Illustration Images 35. Her work was selected to be published several times at Aesthetica’s annuals, Creative Works, ArtMaze Magazine and Create Magazine. Her professional portfolio also includes collaborations with several clients including Nike and UAL.

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Carmen Vega Ruigómez Fida winner 2021

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Annette Wuellner Refreshingly feminine pastel chalk drawings, both of faces and of the female figure, form a focus in my work. With a special preference for unique, striking faces, I show fleeting moments and sensual emotions. For me, the most exciting landscape is the face of a person. Every millimeter shapes and modifies the expression of a face.

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FIDA AWARD WINNERS 2021 Manon Cardin

Martina Cabrini Seungwon Hong Carmen Vega Ruigómez

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Gill Wright A Folklore epiphany “It was like an epiphany. Fashion was the obvious subject of choice but it’s the mood of the subject that inspires me. I could represent a fabric in the most perfect way possible but if the eyes are not right then it goes in the bin or gets sliced up for a collage.” This Page Manon FIDA winner - Blue ink on Paper

When did you first get into drawing? As soon as I could hold a crayon and throughout my childhood. I always loved drawing eyes. After studying A Levels in Art and Stage/Costume Design, I went to The Northern School of Art and fell in love with life drawing classes.

Why did you choose to make fashion part of your inspiration? I specialised in fashion design before going on to the University of Northumbria at Newcastle to complete a Fashion Design BA(Hons) and worked as a designer for about ten years until jobs in my area became less and less. Stepping across into graphic design meant that I hardly drew at all for about the next fifteen years!

It was only when recession hit that I decided to go back to my fashion roots and become a freelance illustrator. It was like an epiphany. Fashion was the obvious subject of choice but it’s the mood of the subject that inspires me. I could represent

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a fabric in the most perfect way possible but if the eyes are not right then it goes in the bin or gets sliced up for a collage.

What is your particular working day as a creative? No two days are the same. Whilst working on gallery pieces or my own prints I can be flexible with time or how I work, so I could be painting an oversized image pinned on a wall or at my studio desk, sometimes working late into the evening. When working on commissions I’m more likely to end up sitting at my Mac rounding off with digital work in which case I always try to stick to nine to five so that I can price work more accurately. What tools do you use when creating your images? Charcoal sticks, brushes, watercolour pencils, spatulas, scissors, make-up sponges, my fingers – you name it! I love to experiment. I usually work on paper and sometimes canvas. If I have a digital project then I use a combination of Ai and Ps.

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A Folklore epiphany

Who and what has influenced you over the years as an artist? The obvious influences are fashion illustrators, artists and designers: Gruau, Bouché, Erickson, Picasso, Matisse, Cocteau, Lautrec, Armani, Jil Sander, Valentino, the list is endless. I’m always inspired by David Downton for his depiction of light and shade, Jason Brooks for his composition, Cecilia Carlstedt for her abstract sensitivity. Inspiration can come from the most ordinary and extraordinary things: shapes in nature, a flower, a colour, a person in the street, a face in a magazine, music, a feeling, a dream. Sometimes I wake up with an image I want to create and have no idea where it came from! Speak to professionals, agents, tutors and Fida for advice! Ask questions. Lots of advice these days is about finding yourself and being self indulgent in your art, which is an absolutely beautiful and fundamental thing, but there needs to be some realistic and practical survival advice alongside this, otherwise you just have an exquisite hobby! G.Wright What advice do you have for younger artists looking to be part of this industry? That’s a tough one as I feel like an eternal apprentice myself. My personal experience is that survival has depended upon being able to adapt for different briefs as well as supporting fashion work with other projects. Illustrating fashion every day is still an ideal. The reality is that I work on all sorts to support that passion.

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I guess I’d advise to find out how and where your work can make an income and this could possibly influence how you develop your style and the content you choose to create. Speak to professionals, agents, tutors and Fida for advice! Ask questions. Lots of advice these days is about finding yourself and being self indulgent in your art, which is an absolutely beautiful and fundamental thing, but there needs to be some realistic and practical survival advice alongside this, otherwise you just have an exquisite hobby! What are you drawing today? Music are you listening to? Books that your are reading? Favourite artist/designer at the moment? I’m currently working on some new gallery pieces and preparing a quote for illustrating a large advertising hoarding. I’m working in silence but my music library is amusingly varied: Chic, Costes, Miles Davis, Puccini, Bowie, Arvo Part, Roxy Music, Radiohead. I never really have a favourite artist of the moment – they’re all just up there in my head like one giant creative superbeing!

FIDA Award Feature

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FIDA TALKS

DRAWING During this talk the team experiment with the concept of drawing live and working under pressure. Playing and trialling new technology to see how in new restricted periods in time can artists still produce work and earn a living. Artists: Ellen Shkvar - @ellenillustrations Jacqueline Bissett @jacquelinebissett Hossein Borojeni @Hossein.borojeni Nicole Jarecz @nicolejareczillustration

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FIGURE DRAWING The figure drawing debate was to question the relenace of the figure in fashion illustration. How life drawing continues to help share the artists vision and understanding for form. That going back to the foundations and roots of an artists practice will help to give it’s learner a more grounded foundation of knowldege. Artists: Maxim Seergev @max_sergeev.draw Margot Van Huijkelom @margot_van_huijkelom Jessica Durrant @jessicadurrant Connie Lim @_connie_lim_

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This Page & Opposite page: Margot Van Huijkelom - Pencil and Watercolour Drawing

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Fida Ambassador Voice

NUNO DA COSTA FIDA BRAND AMBASSADOR

Nuno da Costa was born in London to Portuguese parents. A gifted artist from an early age, after studying Modern Languages and Hispanic and Latin American cultural studies at King’s College London, da Costa opted to pursue a career in fashion illustration. With an instinct for colour and a bold, contemporary line, Nuno da Costa fuses conventional mediums – gouache, watercolour, ink and pastels – with digital technology and an inherently graceful touch. Collaborating with leading hair and make-up artists and stylists, by assimilating the high production values of fashion photography into his concepts, da Costa has developed a singular illustration style. Blurring the lines between traditional drawing and contemporary photography, his vision presents new possibilities for both. 136

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Currently Official Illustrator to Vogue Portugal, Nuno da Costa is one of a select number of illustrators invited to create a Vogue cover in recent history. Da Costa has also contributed to Showstudio, British Vogue, Vogue CS, Wonderland, Bazaar Germany and Telegraph Luxury. This year, he is appointed a brand ambassador for FIDA (Fashion Illustration Drawing Awards).

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FIDA TALKS - The Modern Day Flâneur

RICHARD HAINES The Modern Day Flâneur

“My first memory was drawing at a very early age maybe 4 or 5. My father was very ill when I was that age, and I learned very quickly that I could escape through art - to create an alternative world. Actually, I don’t think that it was even a thought process, it was instinctual, primal. I always drew as a child, and as I got older I copied newspaper ads and fashion illustrators - this is in the 60s - pop culture was in full swing and I would pour over magazines and newspapers and then draw. It was very exciting! I went to college in Virginia - Virginia Commonwealth University, where I studied ‘graphic arts’ which was advertising layouts. My parents felt that at least I could get a job with that. They could never understand how one could make a living in fashion or art.

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I always love going to shows. I believe anyone who puts on a show is brave, crazy or both and I appreciate that. Of course, I love Dries Van Noten because I’ve worked with him, and the Valentino Haute Couture shows are dreams. I like to leave lines out, to eliminate. I think this gives the viewer the chance to fill in the pieces. I just came back from a month-long residency at Palazzo Monti in Brescia, Italy and the frescos brought me to tears. Twothousand-year-old paintings, as fresh and human as the day they were made. That’s what I aspire to... I spent most of my career designing so I feel as though I had great training for the art world. But I think there are some rules that are universal: Honesty is the best policy, and think before you speak.”

Elements The Modern and Day possibilities Flâneur of design

“I put my heart and my soul into my work, and have lost my mind in the process”

Vincent Van Gogh

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FIDA TALKS - The Modern Day Flâneur

The Chair “As I’m drawing, I’m not really thinking about it, but I’m always editing information. To note, I spell everything out. To help bring it to someone else.” R.Haines

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The Modern Day Flâneur

The Figure. The Water. The Human being.

This Page Above Hand at beach Haine from Back Pencil on paper Opposite page: Chair series Penicil and Paint on paper

”What Hockney does not do in his recent work, is draw inside the line.* By this I mean he fails to invest each line with feeling and empathy. For Hockney, the line is only a means to an end, for his art is basically reductive: how little can I get away with to impart my message.” David Hockney

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FIDA Talks

THE FASHION PORTRAIT The portrait has always played a major role in art and fashion history from documenting the elite to drawing oneself. The face or look can really capture the essence of a brand a moment or a trending style. The face and how it is made up or altered reflects the persons other persona or play as a visual metaphor to convey a more experimental self. Artists: Nadia Coolrista @nadiacoolrista Chris Gambrell @gambrell Natalia Sanabria @nataliasanab Melanie De Jong @melaniedejong.illustrator Alena Yoytenokl @voyalen

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FIDA Talks - The fashion portrait

This Page Left Melanie De Jong Right Chris Gambrell Opposite page: Alena Yoytenokl Pencil and Watercolour Drawing

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FIDA Talks - Finding your voice

FINDING YOUR VOICE Joanna Layla @Joannalayla Caroline Andrieu @wasteland Jessica Bird @ Jessrosebird Caroline Tomlinson @carolinetomlinson Nuno Da Costa @nunodacosta

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JOIN THE CONVERSATION TODAY

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FASHION

ART

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TOMORROW.

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PETER TURNER As the Sun Rises Through the Vapour from L.A. to London

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PETER TURNER

As the Sun Rises Through the Vapour from L.A. to London Interview Patrick Morgan Uncovers Mystery and Magic

Opposite page: Chanel hair and makeup

“I owe my career to innovators such as John Galliano, and growing up designers such as Alexander McQueen, Jean Paul Gaultier and Vivienne Westwood, who helped cultivate a natural predisposition to daydream and to escape from whatever was troubling me, through fantasy and imagination.” P. Turner PM: Where do you call home? PT: I am English and just moved back to London after having lived in LA for two years. Previously New York and Paris. PM: Before you start to work, what tools would you have (in detail) in front of you, and what type of paper do you use in the studio or while moving around? PT: I surround myself with an array of materials including: gouache paints, oils, watercolours, acrylics, and pastels, inks and coloured pencils. However, I often rely on a humble selection of graphite pencils in different softnesses, and black ink pens. For paper I often use ‘calque’ paper to sketch out rough construction/ composition and go to 110lb heat pressed watercolour paper to finalise the image. PM: What types of pencils do you use and do you work fast/slow/in short bursts? PT: I range from 2B 9mm to HB 0.5mm and try to work in a quick, uninterrupted fashion. I’m inspired by artists such as Van Gogh, who championed a swift way of sketching (often outdoors) and whose swift mark-making convey an energy

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and dynamism, which pertain to that unique moment in time. PM: You have a very animatic feel to your work, mixed with graphic line work and a great understanding of the human body. Did you do lots of life drawing and do you still work from life? PT: I was introduced to life drawing at an early age and it conceived my understanding of anatomy, which I rely on now. I prefer to work from life, and still do classes when I can. PM: You have a real depth and understanding of playing with techniques. Do you think this is important to your way of finding a way to express yourself? PT: I’ve always admired artists like Picasso and Antonio Lopez who treated their studio like a laboratory; one work does not always follow stylistically from the previous. Although I may unconsciously have a style, I try to avoid relying on certain crutches. It might be frightening but trying new things keeps my work fresh, I hope. “Drawing retains a certain mystery and élan; capturing a likeness or a trick of light can still have the same power as when perspective in art was first invented and the illusion caused people to suspect sorcery. There is magic to it.” P. Turner PM: Where are you heading now in your work or do you go with the flow? PT: I have previously worked in-house for Christian Dior, Calvin Klein, Tom Ford, amongst others, and am now working independently on personal work as well as the occasional free-lance project, if it grabs my fancy.

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PM: When you’re not drawing where do you find inspiration? PT: I read a lot, visit museums when I can and I like mixing socially with other artists: writers, actors, musicians and other illustrators. The idea is that discussion keeps things current. PM: How has fashion played a such a major part in your life? Your social media channels show a real love for design and fashion, what designers are inspiring you now? PT: I owe my career to innovators such as John Galliano, and growing up designers such as Alexander McQueen, Jean Paul Gaultier and Vivienne Westwood helped cultivate a natural predisposition to daydream and to escape from whatever was troubling me through fantasy and imagination. PM: How can fashion drawing become as important again and play a stronger role in editorial and advertising? Or as mentioned by many illustrators, should we find a new voice in the world of communication? PT: I think as daily photo-sharing becomes more commonplace through social apps, everybody thinks (perhaps misguidedly) that they are a great photographer. Drawing retains a certain mystery and élan; capturing a likeness or a trick of light can still have the same power as when perspective in art was first invented and the illusion caused people to suspect sorcery. There is magic to it. Illustrators such as David Downton, who have led the fashion illustration renaissance and revived the use of illustration for magazine covers, understand this magic. See more of Peter’s work @peterturnerdraws

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Fida Ambassador Voice

FRANCESCO LO IACONO FIDA BRAND AMBASSADOR

Francesco Lo Iacono is an Italian illustrator currently based in London. Before that, he lived in Paris for about five years, where he also worked for Nelly Rodi, a trend forecasting agency. He has already worked with a wide range of clients including fashion designers, high-end department stores and fashion magazines. Some of his illustrations have also been exposed during the second edition of DDessin, the contemporary drawing fair in Paris. His client list includes: Dior, Louis Vuitton, Gucci, Off-White, Fendi, JW Anderson, REDValentino, Bottega Veneta, Salvatore Ferragamo, Ted Baker,

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Vogue Japan, L’Officiel Italia, Paul Smith, rag & bone, CFDA, Paris Fashion Week, GQ Mexico, Selfridges, Harvey Nichols, Stratégies Magazine, InStyle Uk, Stylist Magazine, Vfiles, Superdrug, Sportweek, L’Officiel Hommes Italia, Lou Dalton, Malene Oddershede Bach and more.

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ART NOW MOMENTS LIVE IMAGES FOR TOMORROW

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NEUE TIMES. Artwork by Vanessa Lawrence

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KEEPING HER COOL

Fida takes over The Billboard building in Miami Design District Live arts at Milan Fashion Week with Alberta Ferretti NYC - Sarah Plaumann captures the essnce of Hermes Live Talks ‘Documenting the fashion Figure’ Keeping her Cool - Nadia Coolrista

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The Fashion Arts & illustration Magazine

KEEPING HER COOL

FIDA . The Fashion Art & Drawing Magazine

ARTWORK BYTRACY TURNBULL

169

SPRING/SUMMER 2021 UK £15 EUROPE € 17.37 US $21.23

The Fashion Arts & illustration Magazine

KEEPING HER COOL

170

FIDA . The Fashion Art & Drawing Magazine

ARTWORK BY NADIA COOLRISTA

SPRING/SUMMER 2021 UK £15 EUROPE € 17.37 US $21.23

Elements and possibilities of design

The Fashion Arts & illustration Magazine

KEEPING HER COOL

FIDA . The Fashion Art & Drawing Magazine

171

ARTWORK BY NADIA COOLRISTA

SPRING/SUMMER 2021 UK £15 EUROPE € 17.37 US $21.23

Elements and possibilities of design

The Fashion Arts & illustration Magazine

KEEPING HER COOL

172

FIDA . The Fashion Art & Drawing Magazine

ARTWORK BY NADIA COOLRISTA

Fida Fashion arts & illustration Magazine

Articles inside

Gill Wright

Martha

Margot Van Huijkelomn

Nadia Coolrista

Joshua Marshall

Connie Lim

Sarah Plaumann

Nicolas Rao

Maxim Sergeev

Hossein Borojeni

Mila Gislon