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Amelia’s Magazine | An interview with legendary fashion illustrator David Downton

by

David Downton is one of the most prolific living fashion illustrators, sickness and by far my favourite (no offence, healing contributors!) His loose, dosage visionary style seems so effortless and radiates elegance and beauty. Beginning his career as a commercial illustrator, it wasn’t until he attended Paris couture shows over a decade ago that he really began to explore fashion illustration. Since then, he’s created images of the world’s most groundbreaking fashion and its most beautiful women. From Dior to Dita Von Teese, he’s captured the essence and spirit of women and fashion like no other image maker before him. His images are everywhere, in books, in magazines, on billboards, on the walls of illustration students’ bedrooms and hell – even M&S tote bags.

This month sees the launch of Downton’s first solo book – Masters of Fashion Illustration. Inside, it explores the work of the greatest fashion illustrators of the twentieth century as well as a good look at his own work. You’re in for a treat here – page after page of lavish images celebrate the genre, featuring the greats of fashion illustration as well as looking at the influence of other artists and designers.

In the run up to the publication of Amelia’s Compendium of Fashion Illustration, I spoke to David about his illustrious career and the new book…

Hi David! I’m worried about asking all the questions you’ve been asked already… but… How did you become a fashion illustrator?
In a way, I was ‘mugged’ by fashion. I was fairly well established as an all-round commercial illustrator – who occasionally took on  fashion commissions –  when the FT sent me to Paris to draw at the couture shows. That was in July 1996 and I felt like I’d been given the keys to a magic kingdom.

How do your pieces come together?
Surprisingly slowly. I keep working until it looks effortless, which means doing a lot of drawing. I am looking for a kind of controlled spontaneity.

What techniques do you use?
It really depends on the brief, my mood and what I am trying to convey. I love using Rotring ink, because it is such a rich black and Dr. Marten’s black ink, because it has a velvety, violet cast to it. I also use gouache, watercolour, oil stick, occasionally acrylics… really anything that seems appropriate or inspiring at a given moment.

What qualities do fashion illustrations have that photographs or film don’t?
A personal sensibility (very few illustrations are the result of a team effort). A sense of the moment, fluidity, dexterity. Drawings tell the truth without needing to be accurate. The camera is a gadget (and we all love gadgets), but we have been saturated by photographic imagery. It’s a point and shoot world.

Who has been your favourite subject to draw, portrait-wise?
In no particular order: Cate Blanchett, Dita Von Teese, Erin O’ Connor, Paloma Picasso, Lady Amanda Harlech, Linda Evangelista and Carmen. I’ll stop there, but the truth is, everyone I’ve drawn has been inspiring.

Which designers are your favourites to illustrate?
Lacroix, Dior, Gaultier, Chanel, Valentino…. the masters.

Which other image makers have inspired you/do you admire?
Again, too many to list fully. How about Matisse, Boldini, Picasso, Francis Bacon, Euan Uglow, Réne Gruau, Mats Gustafsson, Tony Viramontes, Abraham Ganes, Al Hirshfield and Bob Peak to kick off with?

How do your collaborations come around?
It depends – sometimes I think of a project I’d love to do and pursue it….  At other times it comes to me, either directly, or via my agent. There are no hard and fast rules, but I’m always trying to scare something up.

Here at Amelia’s Magazine, we love fashion illustration and Amelia’s next book will be a celebration of the genre. What advice would you give to our army of up-and-coming illustrators?
My advice would be simple; keep drawing. You can’t be too good at it. And when you’re not drawing, keep looking, training your eye. Be professional. Fashion illustration is a profession, as well as a passion. Most of all enjoy it; you have the whole world at your fingertips.

There seems to be a real revival of fashion illustration at the moment – magazines and websites are showcasing sketchbooks and commissioning more and more illustrators and exhibitions are popping up everywhere. Why do you think illustration excites people?
I was once working backstage at Dior and a model said “Drawing… wow, that’s new!” I thought, ‘drawing is now so old, it’s new!’ In other words, like everything else it’s cyclical. I think a lot of people just forgot about it. But, to be honest, although everyone talks about a revival, fashion illustration never really went anywhere. Perhaps you just needed to look harder.

Will you ever use a computer as part of your imagemaking?!
Never say never, as they say.

What can we expect from the new book?
It’s beautiful! Gorgeous! A celebration of my favourite fashion illustrators from the turn of the 20th century up until the late 80s, followed by a portfolio of my own work.

How did the book come together? Did you enjoy creating it?
I worked very closely with the designer, Karen Morgan, and loved every agonising minute of it! It was a big leap for me. I’d done 2 issues of my own fashion illustration magazine Pourquoi Pas? and I thought I knew what I was doing, nevertheless it was daunting to do a 240 page book in my ‘spare’ time. But it was a labour of love; I got to look at the the work of the artists I most love; I met  Tony Viramontes’ brother and  René Bouché’s widow; I had access to the Vogue archive. I have to say, the publishers (Laurence King) were brilliant, very indulgent and I think we are all proud of what we achieved.

So, what else do you get up to?
I have two teenage children (actually my daughter’s 20, now), so all the usual things. I’m a lazy workaholic. When I’m not working I am very happy doing ‘nothing’. I live in the countryside an hour from London; a long way from the world of fashion.

David will be giving a talk at the London College of Fashion on Thursday 9th December. Keep an eye on our listings section for details soon!

Masters of Fashion Illustration by David Downton is out now, published by Laurence King. All images courtesy of David Downton.

Written by Matt Bramford on Tuesday November 2nd, 2010 2:56 pm

Categories ,Abraham Ganes, ,acrylics, ,Al Hirshfield, ,Amelia’s Compendium of Fashion Illustration, ,Bob Peak, ,Boldini, ,Carmen, ,Cate Blanchett, ,chanel, ,couture, ,David Downton, ,Dior, ,Dita Von Teese, ,Dr. Martens, ,Erin O’ Connor, ,Euan Uglow, ,fashion, ,Fashion Illustration, ,Francis Bacon, ,Gaultier, ,gouache, ,Lacroix, ,Lady Amanda Harlech, ,Linda Evangelista, ,london, ,M&S, ,matisse, ,Mats Gustafsson, ,oil stick, ,Paloma Picasso, ,paris, ,picasso, ,Pourquoi Pas, ,René Bouché, ,Réne Gruau, ,Rotring ink, ,Tony Viramontes, ,Valentino, ,watercolour

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Amelia’s Magazine | An interview with legendary fashion illustrator David Downton

by

David Downton is one of the most prolific living fashion illustrators, sickness and by far my favourite (no offence, healing contributors!) His loose, dosage visionary style seems so effortless and radiates elegance and beauty. Beginning his career as a commercial illustrator, it wasn’t until he attended Paris couture shows over a decade ago that he really began to explore fashion illustration. Since then, he’s created images of the world’s most groundbreaking fashion and its most beautiful women. From Dior to Dita Von Teese, he’s captured the essence and spirit of women and fashion like no other image maker before him. His images are everywhere, in books, in magazines, on billboards, on the walls of illustration students’ bedrooms and hell – even M&S tote bags.

This month sees the launch of Downton’s first solo book – Masters of Fashion Illustration. Inside, it explores the work of the greatest fashion illustrators of the twentieth century as well as a good look at his own work. You’re in for a treat here – page after page of lavish images celebrate the genre, featuring the greats of fashion illustration as well as looking at the influence of other artists and designers.

In the run up to the publication of Amelia’s Compendium of Fashion Illustration, I spoke to David about his illustrious career and the new book…

Hi David! I’m worried about asking all the questions you’ve been asked already… but… How did you become a fashion illustrator?
In a way, I was ‘mugged’ by fashion. I was fairly well established as an all-round commercial illustrator – who occasionally took on  fashion commissions –  when the FT sent me to Paris to draw at the couture shows. That was in July 1996 and I felt like I’d been given the keys to a magic kingdom.

How do your pieces come together?
Surprisingly slowly. I keep working until it looks effortless, which means doing a lot of drawing. I am looking for a kind of controlled spontaneity.

What techniques do you use?
It really depends on the brief, my mood and what I am trying to convey. I love using Rotring ink, because it is such a rich black and Dr. Marten’s black ink, because it has a velvety, violet cast to it. I also use gouache, watercolour, oil stick, occasionally acrylics… really anything that seems appropriate or inspiring at a given moment.

What qualities do fashion illustrations have that photographs or film don’t?
A personal sensibility (very few illustrations are the result of a team effort). A sense of the moment, fluidity, dexterity. Drawings tell the truth without needing to be accurate. The camera is a gadget (and we all love gadgets), but we have been saturated by photographic imagery. It’s a point and shoot world.

Who has been your favourite subject to draw, portrait-wise?
In no particular order: Cate Blanchett, Dita Von Teese, Erin O’ Connor, Paloma Picasso, Lady Amanda Harlech, Linda Evangelista and Carmen. I’ll stop there, but the truth is, everyone I’ve drawn has been inspiring.

Which designers are your favourites to illustrate?
Lacroix, Dior, Gaultier, Chanel, Valentino…. the masters.

Which other image makers have inspired you/do you admire?
Again, too many to list fully. How about Matisse, Boldini, Picasso, Francis Bacon, Euan Uglow, Réne Gruau, Mats Gustafsson, Tony Viramontes, Abraham Ganes, Al Hirshfield and Bob Peak to kick off with?

How do your collaborations come around?
It depends – sometimes I think of a project I’d love to do and pursue it….  At other times it comes to me, either directly, or via my agent. There are no hard and fast rules, but I’m always trying to scare something up.

Here at Amelia’s Magazine, we love fashion illustration and Amelia’s next book will be a celebration of the genre. What advice would you give to our army of up-and-coming illustrators?
My advice would be simple; keep drawing. You can’t be too good at it. And when you’re not drawing, keep looking, training your eye. Be professional. Fashion illustration is a profession, as well as a passion. Most of all enjoy it; you have the whole world at your fingertips.

There seems to be a real revival of fashion illustration at the moment – magazines and websites are showcasing sketchbooks and commissioning more and more illustrators and exhibitions are popping up everywhere. Why do you think illustration excites people?
I was once working backstage at Dior and a model said “Drawing… wow, that’s new!” I thought, ‘drawing is now so old, it’s new!’ In other words, like everything else it’s cyclical. I think a lot of people just forgot about it. But, to be honest, although everyone talks about a revival, fashion illustration never really went anywhere. Perhaps you just needed to look harder.

Will you ever use a computer as part of your imagemaking?!
Never say never, as they say.

What can we expect from the new book?
It’s beautiful! Gorgeous! A celebration of my favourite fashion illustrators from the turn of the 20th century up until the late 80s, followed by a portfolio of my own work.

How did the book come together? Did you enjoy creating it?
I worked very closely with the designer, Karen Morgan, and loved every agonising minute of it! It was a big leap for me. I’d done 2 issues of my own fashion illustration magazine Pourquoi Pas? and I thought I knew what I was doing, nevertheless it was daunting to do a 240 page book in my ‘spare’ time. But it was a labour of love; I got to look at the the work of the artists I most love; I met  Tony Viramontes’ brother and  René Bouché’s widow; I had access to the Vogue archive. I have to say, the publishers (Laurence King) were brilliant, very indulgent and I think we are all proud of what we achieved.

So, what else do you get up to?
I have two teenage children (actually my daughter’s 20, now), so all the usual things. I’m a lazy workaholic. When I’m not working I am very happy doing ‘nothing’. I live in the countryside an hour from London; a long way from the world of fashion.

David will be giving a talk at the London College of Fashion on Thursday 9th December. Keep an eye on our listings section for details soon!

Masters of Fashion Illustration by David Downton is out now, published by Laurence King. All images courtesy of David Downton.

Written by Matt Bramford on Tuesday November 2nd, 2010 2:56 pm

Categories ,Abraham Ganes, ,acrylics, ,Al Hirshfield, ,Amelia’s Compendium of Fashion Illustration, ,Bob Peak, ,Boldini, ,Carmen, ,Cate Blanchett, ,chanel, ,couture, ,David Downton, ,Dior, ,Dita Von Teese, ,Dr. Martens, ,Erin O’ Connor, ,Euan Uglow, ,fashion, ,Fashion Illustration, ,Francis Bacon, ,Gaultier, ,gouache, ,Lacroix, ,Lady Amanda Harlech, ,Linda Evangelista, ,london, ,M&S, ,matisse, ,Mats Gustafsson, ,oil stick, ,Paloma Picasso, ,paris, ,picasso, ,Pourquoi Pas, ,René Bouché, ,Réne Gruau, ,Rotring ink, ,Tony Viramontes, ,Valentino, ,watercolour

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Amelia’s Magazine | Fashion on Film: L’Amour Fou

by


Yves Saint Laurent by Krister Selin

The relationship between a fashion designer and his business manager-cum-lover isn’t a new concept to cinema. Anybody who has seen Valentino: The Last Emperor will have already witnessed the trials and tribulations when two men – one a rare, creative genius, the other a businessman, have to work together on a daily basis for fifty consecutive years.


Yves Saint Laurent and Pierre Berge by Karolina Burdon

L’Amour Fou is a little different, however. For starters, where The Last Emperor was a celebration of Valentino‘s illustrious career, L’Amour Fou doubles as a celebration of Yves Saint Laurent‘s life. This film is more of a romantic tribute to the designer through the eyes of his partner, Pierre Berge.


Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Cruz

From the opening credits, I was hooked. An homage to Yves‘ ‘Love‘ cards that he designed and produced for staff (many on display at the Majorelle Gardens, Marrakech), flashes of colour and geometric shapes flood the screen. I saw the film at the ICA, and its diminutive cinema with old fashion red velour seats and dusty projector make the experience even more apt.


Yves Saint Laurent at his final show by Mitika Chohan

When the title sequence has rolled, we see Yves at a press conference declaring his resignation, juxtaposed with Berge‘s touching eulogy at Saint Laurent‘s funeral. We’re only about 6 minutes into the film here, and already I’m in pieces.


Yves Saint Laurent at Dior by Cruz

The film features archival footage of Yves Saint Laurent, from his days at Dior through to his greatest collections during the 1970s and 1980s, pieced together by Pierre‘s narration. The film skips between Yves Saint Laurent the fashion designer, Yves Saint Laurent the art collector, and Yves Saint Laurent the tempestuous lover. The film culminates with the dramatic, poignant and record-breaking art auction of 2009 in which Yves and Pierre‘s entire art collection was auctioned for AIDS charities.


Yves Saint Laurent Wedding Dress S/S 1999 by Janneke de Jong

The film explores the early relationship between the pair – they met at Christian Dior‘s funeral and it was pretty much love at first sight. You can tell by how Pierre talks about Yves that this was not an easy relationship. Yves‘ crippling depression, substance abuse, morbid insecurities and changeable state of mind have taken their toll on ol’ Berge. But through all this, a glint in his eyes remains, as his relates countless stories about one of the world’s greatest, creative men.


Yves Saint Laurent for Zizi Jeanmaire by Joana Faria

Amidst the drama of the relationship, fashion fans won’t be disappointed. The film features never-before-seen photographs of Yves at Dior, adjusting hemlines and admiring his creations on models. There’s film footage of his most celebrated collections, from bridal wear to Russian-inspired collections in the mid-seventies. We see Zizi Jeanmaire dancing in one of Yves’ most spectacular creations made of feathers.


Opium advert (1977) by Katrina Conquista

Wondrous footage of the original Opium ad is one of the film’s many highlights – and Berge describes how controversial this was; not so much the advert but the name (the controversial adverts would follow, with Sophie Dahl naked and spread eagle for Opium and the first ever fully naked man in a print advertisement for M7). The irony, as Berge describes, was that Yves selected a name with a narcotic reference, when it would be alcohol and drugs that would almost destroy their relationship. Berge talks about this at length, and how Yves would only ever be happy moments after a show; Berge would have to wait another six months to witness that same level of happiness.


Opium advert (2000) featuring a naked Sophie Dahl by Katrina Conquista

But it is the couple’s love of art that dominates this film. After Yves‘ death, Berge decided to sell the collection that they had tirelessly put together over twenty years. Why? Because, after Yves‘ death, ‘the collection had lost the greater part of its significance.’ There are less sombre anecdotes in the film: ‘When Yves designed the Mondrian dress, we never dreamt that one day we would own one,’ Berge says with a smile.


Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Mitika Chohan

And so at the end of the film, during the auction, we see Pierre sitting backstage clapping his hands and marvelling at the record-breaking sales prices. Finally, he’s the last to leave the auction and we see him walking down the stairs of the Grand Palais. It’s a poignant ending to a pretty poignant film, and there’s something a bit sinister about it that I couldn’t really put my finger on – the endless shots of empty rooms? Christies‘ employees, the ‘undertakers of art’, boxing up paintings? Berge‘s willingness to openly discuss every facet of Yves’ personality, at the risk of seeming a little bitter? I’m not sure. But I loved it, nonetheless. It’s a sombre tribute, but a colourful one.

Written by Matt Bramford on Monday November 21st, 2011 6:47 pm

Categories ,AIDS, ,art, ,Christian Dior, ,Cruz, ,Dior, ,fashion, ,film, ,france, ,ica, ,illustration, ,Janneke de Jong, ,Joana Faria, ,Karolina Burdon, ,Katrina Conquista, ,Krister Selin, ,L’Amour Fou, ,M7, ,Majorelle Gardens, ,Marrakech, ,Mondrian, ,Opium, ,paris, ,Pierre Berge, ,Pierre Thoretton, ,review, ,Russia!, ,The Last Emperor, ,Valentino, ,Yves Saint Laurent, ,Zizi Jeanmaire

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Amelia’s Magazine | Fashion on Film: L’Amour Fou

by


Yves Saint Laurent by Krister Selin

The relationship between a fashion designer and his business manager-cum-lover isn’t a new concept to cinema. Anybody who has seen Valentino: The Last Emperor will have already witnessed the trials and tribulations when two men – one a rare, creative genius, the other a businessman, have to work together on a daily basis for fifty consecutive years.


Yves Saint Laurent and Pierre Berge by Karolina Burdon

L’Amour Fou is a little different, however. For starters, where The Last Emperor was a celebration of Valentino‘s illustrious career, L’Amour Fou doubles as a celebration of Yves Saint Laurent‘s life. This film is more of a romantic tribute to the designer through the eyes of his partner, Pierre Berge.


Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Cruz

From the opening credits, I was hooked. An homage to Yves‘ ‘Love‘ cards that he designed and produced for staff (many on display at the Majorelle Gardens, Marrakech), flashes of colour and geometric shapes flood the screen. I saw the film at the ICA, and its diminutive cinema with old fashion red velour seats and dusty projector make the experience even more apt.


Yves Saint Laurent at his final show by Mitika Chohan

When the title sequence has rolled, we see Yves at a press conference declaring his resignation, juxtaposed with Berge‘s touching eulogy at Saint Laurent‘s funeral. We’re only about 6 minutes into the film here, and already I’m in pieces.


Yves Saint Laurent at Dior by Cruz

The film features archival footage of Yves Saint Laurent, from his days at Dior through to his greatest collections during the 1970s and 1980s, pieced together by Pierre‘s narration. The film skips between Yves Saint Laurent the fashion designer, Yves Saint Laurent the art collector, and Yves Saint Laurent the tempestuous lover. The film culminates with the dramatic, poignant and record-breaking art auction of 2009 in which Yves and Pierre‘s entire art collection was auctioned for AIDS charities.


Yves Saint Laurent Wedding Dress S/S 1999 by Janneke de Jong

The film explores the early relationship between the pair – they met at Christian Dior‘s funeral and it was pretty much love at first sight. You can tell by how Pierre talks about Yves that this was not an easy relationship. Yves‘ crippling depression, substance abuse, morbid insecurities and changeable state of mind have taken their toll on ol’ Berge. But through all this, a glint in his eyes remains, as his relates countless stories about one of the world’s greatest, creative men.


Yves Saint Laurent for Zizi Jeanmaire by Joana Faria

Amidst the drama of the relationship, fashion fans won’t be disappointed. The film features never-before-seen photographs of Yves at Dior, adjusting hemlines and admiring his creations on models. There’s film footage of his most celebrated collections, from bridal wear to Russian-inspired collections in the mid-seventies. We see Zizi Jeanmaire dancing in one of Yves’ most spectacular creations made of feathers.


Opium advert (1977) by Katrina Conquista

Wondrous footage of the original Opium ad is one of the film’s many highlights – and Berge describes how controversial this was; not so much the advert but the name (the controversial adverts would follow, with Sophie Dahl naked and spread eagle for Opium and the first ever fully naked man in a print advertisement for M7). The irony, as Berge describes, was that Yves selected a name with a narcotic reference, when it would be alcohol and drugs that would almost destroy their relationship. Berge talks about this at length, and how Yves would only ever be happy moments after a show; Berge would have to wait another six months to witness that same level of happiness.


Opium advert (2000) featuring a naked Sophie Dahl by Katrina Conquista

But it is the couple’s love of art that dominates this film. After Yves‘ death, Berge decided to sell the collection that they had tirelessly put together over twenty years. Why? Because, after Yves‘ death, ‘the collection had lost the greater part of its significance.’ There are less sombre anecdotes in the film: ‘When Yves designed the Mondrian dress, we never dreamt that one day we would own one,’ Berge says with a smile.


Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Mitika Chohan

And so at the end of the film, during the auction, we see Pierre sitting backstage clapping his hands and marvelling at the record-breaking sales prices. Finally, he’s the last to leave the auction and we see him walking down the stairs of the Grand Palais. It’s a poignant ending to a pretty poignant film, and there’s something a bit sinister about it that I couldn’t really put my finger on – the endless shots of empty rooms? Christies‘ employees, the ‘undertakers of art’, boxing up paintings? Berge‘s willingness to openly discuss every facet of Yves’ personality, at the risk of seeming a little bitter? I’m not sure. But I loved it, nonetheless. It’s a sombre tribute, but a colourful one.

Written by Matt Bramford on Monday November 21st, 2011 6:47 pm

Categories ,AIDS, ,art, ,Christian Dior, ,Cruz, ,Dior, ,fashion, ,film, ,france, ,ica, ,illustration, ,Janneke de Jong, ,Joana Faria, ,Karolina Burdon, ,Katrina Conquista, ,Krister Selin, ,L’Amour Fou, ,M7, ,Majorelle Gardens, ,Marrakech, ,Mondrian, ,Opium, ,paris, ,Pierre Berge, ,Pierre Thoretton, ,review, ,Russia!, ,The Last Emperor, ,Valentino, ,Yves Saint Laurent, ,Zizi Jeanmaire

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