“I’ve been in the industry for so long,” says Sue Dray, yet her passion for her work remains fresh and current, noticeable through her work ethos and approach to the arts. 

The artistic realm is often described as an interconnected world, where different arts, industries, and professions connect or even interchange, but it is not always easy to find a balance between them… However, the British fashion illustrator has managed to do so, combining her interest in human interpretation and conveyance through both illustration and fashion – as done through her live drawing work at London fashion week.

We had the opportunity to talk to Sue Dray and find out more about her perception of the arts, work throughout the years and plans for the future.

How did you first discover your passion for illustration? And how did you enter the industry of fashion illustration?

“I’ve always liked drawing people and I’ve always been into fashion, even if I didn’t remain in fashion when studying at the London College of fashion – I came out as an illustrator.

But it was only really years later, in 2009, when I was asked to go into London College of fashion as a lecturer…  I remember looking at my profile and thinking, gosh, here I am teaching the next generation of fashion illustrators and I, I really haven’t got a profile that I am a fashion Illustrator. So, I reinvented myself as a fashion Illustrator around 2011. 

I went out and started drawing at London Fashion Week and building up a niche for myself as a fashion Illustrator… I went, okay, I can do it. I’m going to put myself through the same course I’m teaching and I’m going to become a fashion illustrator, per se, that’s kind of how it happened. 

I’ve always loved clothes. I’ve always loved designing, making, and wearing my own clothes. I’ve always liked developing my own style and my own niche, so it felt natural for me to move into fashion illustration because of my love for clothes.”

How do you manage to express your love for clothes and the beauty of fashion through illustration?

“My work is almost the opposite of what fashion is meant to represent for women. Therefore for me, the people came first. I was very lucky, some of my first commissions were to draw from the catwalk, for people like Pam Hogg, and, and Vivienne Westwood. All their models were very unique, so it was very much about marrying the bizarre nature of the clothes too. 

But when I was drawing, it was always drawing from live events. And it was always about drawing really, quickly, so I didn’t have the time to focus on every single detail, and it was just about capturing the essence of that collection, the silhouettes, of the colourway or the textures or the fabric. So, my drawings became more conceptual, it was more an impression of what I saw in that collection. So, they become quite personal to me, which is why I say that I’m a fashion artist, not a hardcore illustrator.”

What is your perception of the current fashion industry? Is it directed towards a positive change? And is this present in your illustrations?

“I think that obviously yes, we’re all becoming aware of all the issues that are out there. We are becoming aware of the importance of the representation of all the different types of people, cultures, and genders and, you know, worse and the fashion industry obviously, is, is super sensitive to that. And the fashion industry is starting to reflect it. 

I’m being represented in the world of fashion; I can actually see people who are a bit similar to myself. So, I think the fashion industry is doing their best, and they have to because we are the communicators to younger generations. There is a big responsibility to engage in that.”

Out of all the artists, brands, and publications you have collaborated with or worked for, which one would you say was the most rewarding one? And why?

“I think that what was most thrilling for me, obviously, was being backstage at Vivienne Westwood drawing. That was like tingling because I’ve always admired Vivienne Westwood. I used to pass her shop back in the 80s in Kings Road and I used to be so intimidated by going in because I wasn’t punk. But her clothes are beautiful yet so brave. When you wear them, you know that you’re wearing something important and it gives you so much power and confidence, just like her shows.

But I think that the other most humbling experience I’ve ever had, and one of the most memorable, was working for Karen Millen. I went out to South Africa, Pietermaritzburg, and I worked to set up a school there for young people who have been affected by HIV – in collaboration with hope HIV.   We set up a school to teach a selected hand full of young people fashion skills.  The school was giving them skills to be able to make clothes and now some students are getting scholarships to go off to Johannesburg into the art college. Those kids were like nobody else I had ever taught.”

How do you manage to keep a balance between the different areas of your job? Alternating between commissions, live events and teaching? 

“I don’t know, really. I’m a bit of a workaholic, I can’t sit still. Even when I’m watching television, I can’t sit there and watch television it will drive me crazy. So you know,  I constantly have to be doing something. I like to be kept busy. And I like to be inspired. And so for me, my downtime is actually doing things. When I was a solid illustrator and I wasn’t teaching at all, back in the 80s after 10 solid years of illustrating,  if I didn’t have any commissions in and there was no work coming in, which actually wasn’t very often but it sometimes happened,  I would think, right, I have to do my own work and I’m going to start getting work together for an exhibition. So I just sort of set myself goals, I decide what I want to do and I make a list of all the things that I want to achieve and then I set the time to time tick them off.

So it’s mostly by reaching deadlines, setting yourself agendas, making myself lists, and really disciplining myself to be in that particular space at that particular time. That’s how I do it,  I don’t have any golden tips. I think it’s just passion, and it’s the passion for what I do and wanting to do the best I possibly can.”

What advice would you give to young creators, graphic illustrators, especially to creatives that are trying to get their work out there?

“ You’ve got to find out who is the art director or art buyer of all the publications you would like to be featured in is and make direct contact with them. Also, Instagram has to be professional. Try not to put anything else on there. I mean yes, you can put your pictures on there if you’re out somewhere fabulous and look great, but it has to present yourself as professional or have a  separate Instagram and Facebook for your professional work. And constantly keep working at your craft, whatever that is, let’s say that you’re a fashion illustrator, you’re constantly drawing, you’re constantly keeping up with the trends, with the designers and what they’re doing, with their collections, keep yourself really current.

I think you’ve got to stay active and keep in mind that networking is great. You also want to know who’s out there and who’s doing what and make connections with them. Because it is a little bit of that as well. A lot of making connections and keeping the connections alive and be genuine. Be yourself. Be genuine. Be honest. I think that’s what has worked for me.”

Words By Chiara Ferrari

_{Photo Credit: Sue Dray Instagram}

The post An Interview With Sue Dray; The London Based Illustrator Who Brought Live Drawing To London Fashion Week appeared first on Voir Fashion.

From fashion photography to front rows of Fashion Week, London fashion illustrator Scott W Mason talks to Voir about his fashion inspirations, favourite illustrators and fashion week surprises. He describes his creative style, his inspirations and his process.

Scott’s collaborations include brands Apple, Selfridges, Alexander McQueen , Axel Arigato, Ted Baker, Reiss, House of Holland, Danone and SkinnyDip London.

You studied Fashion Photography for your BA degree but went into fashion illustration. How did that story unfold for you?

I’ve drawn a lot longer than I’ve ever taken photos. I used to draw a lot and then I started watching America’s Next Top Model, as embarrassing as it is, and I used to love the photoshoots that were from there because they’re quite extravagant. I was like a 12-year-old kid so I could not afford to do those type of photoshoots, so I started to draw my ideas out instead, and that’s when I sort of took a more fashion approach. I was still quite young, I couldn’t draw as well as a photograph can capture something so I went back to photography and then I went into uni to do fashion photography because I thought it’s easier than drawing in a way. After a while I realised I can’t take photos for shit! So I ended up spending the rest of my three years at uni drawing on my photos just to get a decent mark so that’s kind of how it turned around again. I literally just thought drawing was so much easier and cheaper.

You would say that fashion always was a focus of your work, like it’s always been a calling hasn’t it?

Yeah, I don’t know why but I’m just excited by the structure of clothes and I guess its expression of it. I’d think that when you’re doing a drawing of something that includes fashion it’s more of a purpose to it because you’re illustrating something rather than just making something from the top of your head. People are always like what’s the point in drawing? And I’m like “Argh, there’s a reason behind it!” I mean it’s not really needed but I mean you could say that about a lot of things. It’s just an artistic expression and creativity, it doesn’t have to be, you know for sole purpose of studying something.

Click on image to enlarge

We absolutely love your colourful and creative pieces. How would you describe your own illustrative style?

I’d probably go modern, minimal, maybe abstract because sometimes I show people my work and they’re literally like “what the f*** is that?” Maybe textured. I guess you see it more in person rather than in scans but the paint strokes add a bit of depth to them. We’ll add bold in there for good measure.

What do you enjoy most about being a fashion illustrator?

I still get excited by, it sounds silly, but a blank piece of paper because when you start out you don’t really know what’s gonna happen and what you’re going to end up with so even after drawing for 20 years it’s still exciting to be like “Ah what can happen?” But being a fashion illustrator, I think it’s sort of a cooler illustrator which really isn’t fair or true but because people perceive fashion as being such a cool industry if you do anything to do with that they’re like “Oh my god, so cool!” My favourite thing is it’s not that well known and it’s not quite as mainstream as so many other things so it’s quite a niche.

Where do you get your inspiration from for your new illustrations?

If I’m scrolling through Instagram and I see a pose that sort of captures my eye then I want to draw something similar and inspired by that. Or just watching fashion shows, I was scrolling through Paris Fashion Week today and I saw like 100 looks I want to draw and I’m trying to pick which ones. Because the first and foremost thing that inspires me is obviously the clothes.

Click on image to enlarge

What is the most important aspect for you when creating a new piece? What is the one thing you prioritise the most?

I don’t prioritise getting it that similar to the actual garment. I think I just prioritise having a nice-looking drawing, it’s all quite subliminal and you don’t really think about it. I think I prioritise the pose the most because I think the pose brings emotive or a story to the piece.

What attracts you to a garment? What are the first details you look at?

It used to be hemlines because if someone had a lot of stuff with hemlines and a lot of strong shapes I’d sort of see the black linear line in my work and I’d automatically apply it to that. But that was when I used to work just mainly fineliner and not a lot of colour. But now I think print is what really inspires me because I’m obsessed with drawing floral prints at the moment and I think everyone is getting bored of it on my Instagram. I can’t stop. Yeah, I’d say floral prints I’m obsessed with, and gloves.

Why gloves?

I’m not sure, I think the way you can draw a hand and add in the crease of the glove and then you can add shadows and highlights to it. I think it’s so I can cover up really bad drawn hands because I make it as abstract as possible, but one of my favourite illustrators I think drew a lot of gloves

Who is your favourite illustrator?

Tony Viramontes. His style definitely inspired me a lot and then Egon Schiele I adore as well, so I think if you look at those you can probably see the aspects of stolen. Subconsciously but yeah.

What is the process illustrating for a live show? How quickly do you have to work?

Oh god it’s a nightmare. I gave it a rest for like two years because I was being so socially reclusive and didn’t want to go. And then I went last September for a few shows and I completely forgot how quick it is and how stressful it is. What I tend to do is I like to pick up key details so if it’s just stuff that catches my eye like maybe the hairstyle they’re using and the makeup, little buckles or just little aspects of that it’s sort of like a log for me. I’ll remember when I go home like “Ah, I wanna showcase that detail.” It’s true you can’t end up with a good drawing at the end of a fashion show because it’s just impossible. That’s why presentations are great for illustrators because you know they’re on for like an hour, two hours, you can actually get time to do something.

Click on image to enlarge

So out of the fashion shows you’ve been at, who has approached you that has really surprised you that you didn’t really think you were going to meet?

What’s surprised me most about fashion week is I got recognised a couple times last time and I was like oh my god! It’s so bizarre to have someone come up to you and recognise who you are because you just kind of post online and don’t think about it and you kind of forget that people do see and take note of who and what you are. But no, I haven’t actually met any celebrities or designers as of yet as far as I’m aware. If I have, I’ve forgotten because I was drunk.

Is there a particular brand that you’d love to collaborate with that you haven’t yet?

Kenzo was always one I used to love when I was at uni. That would be so cool. Just a brand that’s slightly out of the box. Kenzo would be a cool fit or there’s Axel Arigato who I’ve done a few events for, but I’d love to do a design for a print for a shoe or something. I’m just fed up of seeing my work just as a piece of paper, so I just want to go and get my work and apply it to something. So, whether that’s clothes or a product or something like that, it’ll just be cool to see it in action rather than just an object.

What piece of advice do you have for Voir readers who are aspiring fashion illustrators?

I would say just draw constantly because the one thing you always fall back on is your ability. Instagram is incredibly important, do it as much as you can. Draw celebrities and tag them to get them to repost you. It’s the best free marketing tool you’ve got and it’s the only way unless you’ve got a million people you know in the industry already, that’s your easiest foot in the door. Your style is incredibly important because that’s how people recognise you. But it’s a tricky one because you can’t actively go out and search for a style so you’ve just got to take inspiration from everything and keep working and then your style will develop over time. Don’t do what everyone else is doing. Stand out from the crowd, baby! Oh, and contact people. Don’t be scared because I’ve always been told that a closed mouth doesn’t always get fed. Literally email anyone and everyone. If you’re approaching any of these big brands, I will definitely say approach with some idea of what you can do for them in mind otherwise they’re probably not going to get back to you.

Thank you for engaging with Voir Fashion Digital.

It is important that we communicate a unique brand of fashion, beauty, trends and lifestyle to you on a regular basis, all we ask is that you share our content, and subscribe to receive even more exciting updates and competitions directly to your inbox.

The post Scott W Mason, A Revolution In Fashion Illustration appeared first on Voir Fashion.

Wondrous colour and expressive line, Jacky Marshall is delivering a fun and fresh style of fashion illustration.

With combinations of thick brush strokes and fine line detail, her illustrations exhibit a quirky and cheerful aesthetic. Her work may be minimalistic at times, but that doesn’t mean it packs any less of a punch. Often buoyant and eccentric, her style adds a joyous pop of colour to your Instagram timeline. If you want to look at fashion through avant-garde eyes be sure to give her a follow.

Jacky shows us that detail isn’t everything with illustrations that capture the essence of looks created by designers Calvin Klein, Givenchy and Prada (along with many others) focusing on colour and silhouette.

As well as fashion, Jacky illustrates beauty; encapsulating the soul of the looks through bursts of colour and facial characteristics through fluent line.

Not sticking to one single medium, Jacky Marshall has explored her style through paints, oil pastel, screen printing, inks, digital drawing and more. Her style has an animated quality, the line-work almost moving across the page in a free and fluid motion as if her art has a mind of its own.

Need to brighten up your feed with some imaginative expression? @jackyblue_ may just be the ticket for you.

Thank you for engaging with Voir Fashion Digital.

It is important that we communicate a unique brand of fashion, beauty, trends and lifestyle to you on a regular basis, all we ask is that you share our content, and subscribe to receive even more exciting updates and competitions directly to your inbox.

The post Linear Chic: Fashion Illustration by Jacky Marshall appeared first on Voir Fashion.

Simply stunning.

See more of Chris’ work here

The post Drawing You In: The Artwork of Chris Gambrell appeared first on Voir Fashion.

You have seen her creations time and time again within the pages of Voir Fashion Magazine – and so it is no surprise that Voir Loves the force that is Margarete Gockel.

With a style that we can only describe as flirtatiously elegant, Margarete’s free-flowing pen, ink and brush have a way of communicating fashion that, simply put, no other medium can. She captures a gaze with just a few strokes, the allure of high fashion with effortless flair, and the essence of a trend with a mere hint of colour.

Her creative career began as a costume designer for advertising agencies, where she discovered her passion for illustration. Today Margarete Gockel is one of the most sought-after fashion illustrators in the world.

Her work has been featured in countless international magazines, Elle, Cosmopolitan, Marie Claire, NY Times and Voir Fashion. She has built an enviable client list sporting giant names in advertising such as BBDO, Grey, J. Walter Thompson, Leo Burnett, Ogilvy & Mather and Saatchi & Saatchi.

Margarete’s inimitable style has fashioned its way into the pathway of Agfa, Dove, Elégance Paris, Estée Lauder, Ferrero, Herbal Essences, Neiman Marcus, Sony, Warner Brothers and Wella. Phew!! Her love for fashion and travel, means that Margarete can embrace the two, and enjoy illustrating from all the fashion capitals of the world.

See Margarete Gockel’s stunning editorials from Voir Fashion below

Visit Margarete online HERE

The post Drawing Inspiration: Illustrations from the Haute side of Fashion appeared first on Voir Fashion.