That is certainly the experience of Anna Laurini (@annalauriniblue) who has seen her street work welcomed into the fashion art family with voracious enthusiasm. Having studied at Central Saint Martins, Laurini began to emblazon her signature Cubist-influenced, red-lipped face across billboards in Shoreditch and Mayfair “as a break from the studio” and is now regularly called upon for collaborations, most recently by Rupert Sanderson and Japanese label Black by Moussy. “It’s surprised me how popular my work has been in fashion terms,” she says. “I never expected it.” And again, Anna says, it’s the audience that is key to the success of her work. “I never give the woman a story as I paint her,” she says. “It’s really up to the viewer; people often tells me that my work resonates with their particular mood. I like that it’s relatable on a personal level.”
We toyed with it on Vogue.co.uk during my decade as editor of the site from 2005 to 2015, with a shoppable version of the Fashion Illustrated Gallery (founded by William Ling; stocking the work of all the prominent modern illustrators including Downton and Ling’s wife Tanya), running alongside an illustrated blog by Downton himself written from the Fumoir - but it didn’t get huge traction. In contrast, today illustration generates great engagement, even recently making it into the realms of the still-controversial space of branded content with a campaign of illustrated fashion fairytales that ran across Vogue, GQ and Tatler which surpassed all commercial targets for a month-long campaign within the first 24 hours.
Movement can also help the viewer understand what makes up the clothing you’re drawing or painting. We’ll discuss texture and weight within textiles more fully below, but understand that if a fabric is light and flowy or heavy and stiff, one of the best ways to show that is through how it moves when placed on a body or when the body itself is in motion.
Consider, for accessory-only pieces, what sort of information you’d like the viewer to understand without seeing an associated figure. For instance, if you’re only drawing shoes and a handbag, coordinating the two based on material or design may tell a story of a well put together person. Or a pair of sneakers and a backpack would tell the story of a student or young person.
I love Valentino, Tom Ford, Mary Quant, Yohi Yamamato and Donna Karen. I pull from these guys a lot for my cosplay. No, that isn’t sacrilege. Cosplay cannot be ignored as far as a money making design market goes. Top designs have trickled into cosplay and cosplay has trickled into top designs. There is just no way around it. Nor should there be. 🙂
Donna Karan came from a background that was related to fashion in certain ways. This fashion designer worked as a head of a design team for a few number of years and launched some designs that included the very well-known ‘Seven Easy Pieces’. She is the sole creator of the DKNY label (Donna Karen New York). Since then, this label has seen many new additions in the fashion segment.
Textile patterns can also help coordinate various pieces when you match up a color or two from a print within other garments or accessories in a design. This is especially apparent when you’re illustrating a line of clothing and begin to notice how various pieces within a set, though not all worn together or by the same person, may call back to each other with the use of the same patterns or colors from a pattern.
The bohemian fashion style- always referred to commonly as the ‘boho’ look- can easily be described as a style that focuses mainly on wild and intricate patterns and exotic textures. They get most of their inspiration from gypsys and hippies, creating a standout finish with plenty of tie dye, geometrics, chains, fringes, and other eye-catching designs.