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

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.

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

Similar Posts:






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

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.

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

Similar Posts:






Amelia’s Magazine | Drawing Fashion at the Design Museum

Gareth David Ackland lives and writes in a vibrating triskadekahedron called London. When not writing, here he makes paintings about guilt, colonialism, biodiversity loss, vanity, terrorism, evolution, consciousness and doom, which you can see on the website named below. He also eats fine cheese and entertains the severely autistic with a guitar and a kazoo.

Go and have a look at www.gackland.com

Gareth David Ackland lives and writes in a vibrating triskadekahedron called London. When not writing, pharm he makes paintings about guilt, recipe colonialism, more about biodiversity loss, vanity, terrorism, evolution, consciousness and doom, which you can see on the website named below. He also eats fine cheese and entertains the severely autistic with a guitar and a kazoo.

Go and have a look at www.gackland.com

Gareth David Ackland lives and writes in a vibrating triskadekahedron called London. When not writing, seek he makes paintings about guilt, pilule colonialism, biodiversity loss, vanity, terrorism, evolution, consciousness and doom, which you can see on the website named below. He also eats fine cheese and entertains the severely autistic with a guitar and a kazoo.

Go and have a look at www.gackland.com

Illustration by Daria Hlazatova

Fashion illustration. You may have noticed we get pretty excited about the genre, pharm particularly with Amelia’s new book on the way. Drawing Fashion at the Design Museum has been hotly anticipated and it doesn’t let down. Put together by Joelle Chariau of Galerie Bartsch & Chariau over 30 years, and the show covers fashion illustration from the early 20th century forward. The present installment at the Design Museum is the first time the collection has been shown together.

The quick overview: the show captures the power of illustration to reflect not only the fashion but also the tone of the times, in a way unique to other media forms such as photography. It proves that although photography has become the predominant media from the 1930s, illustration still holds a valid and special place in fashion.


George Lepape

The longer version: split into five eras, the exhibit focuses the viewer to the changing role of fashion illustration and its connection to the culture it is a part of. The first, From Gold to Silver 1910-29, captures the optimism and new worldviews of the early 20th century with bold use of colours, a new vibrancy and a focus on lifestyle in the illustrations. The single figures of Erté, the Vogue and La Gazette du Bon Ton George Lepape covers bring out the new silhoette of the 1920s. Stylised illustrations celebrate the lifestyles that few could afford, but which encapsulate post war enthusiasm. The highlight here: George Lepape’s Chapeaux D’Hiver for Le Bon Ton in pen, ink and watercolour, showing both the original and use in editorial.

Moving forward to 1930-46, the tone of Time & Decay reflects the changing times: the depression, the movement of focus from Paris to America during the war years, the popularity of the cinema and a focus on leisure and sportswear in fashion. This more casual tone is brought through the illustration, with looser strokes, more muted colours and more introspective compositions. This section highlights the talent of Bernard Blossac and René Bouché.


René Gruau

Enthusiasm returns in New Rhythms, New Rules 1947-59, introducing Dior‘s ‘New Look‘ in 1947. The illustrations of Réne Gruau perfectly capture the ‘exagerated elegance’ of Dior’s bold new style. His bold use of colour and line, with a predominance of red, white, back and orchre shine through this section of the exhibit. The timelessness of the illustrations is highlighted by a Vogue Paris cover illustration, first published in the 1950s, republished for the Juin/Juillet 1985 edition, that would look equally contemporary today. Another highlight is a single pink glove, showing a movement from full figure to individual detail and objects of the body.


Antonio Lopez

The true star of the show is Antonio (Lopez), the sole focus of Liberty & Licence, taking the viewer through 1960-89. Anotonio’s bold graphics in pencil and watercolour celebrate the dynamic feminism of the 1970s and especially the 1980s. This is power illustration to the max, matching the era’s power dressing with big shoulders, tight waists and attitudes to match. Hitting the mood of each decade, Antonio’s style adapts through the 1960s-80s, with a focus on form and art.


François Berthoud

The exhibit concludes with The Tradition Continues 1990-2010 and Fashion Drawing for the Future. The illustrations chosen in this section react against ‘the cult of the individual’ and big budget commerciality of fashion and advertising. Matts Gustafson and François Berthoud show new paths forward in terms of form and technique. Berthoud’s Allure de Chanel for Rebel, France (enamel on paper) reduces the figure to positive and negative forms.


Mats Gustafson

Overall, illustrations are more moody and suggestive and are often simplified to form, colour and movement. An Aurore de la Morinere for Christian Lacroix published in Süddeutsche Zeitung Magazine loses the form of figure and clothes to a shimmer of colours, becoming etherial and fantasy rather than any depiction of the body. A dark illustration for Alexander McQueen with the figure walking away from the viewer and displayed alone poignently reminds of the loss of this fashion great.

There is currently a resurgence of interest in fashion illustration and Drawing Fashion celebrates this. With any retrospective, it’s difficult to cover everything and there are a few illustrators missing – notably David Downton who we interviewed recently. The exhibition, however, demonstrates illustration’s power to take the viewer beyond the simple display of clothes and connecting what we wear with the mood, ideologies and changing tides of the 20th century.

Get all the information you need, including the line up of talks associated with the exhibition, in our listings section.

Categories ,20th Century, ,Alexander McQueen, ,Amelia’s Compendium of Fashion Illustration, ,America, ,Antonio Lopez, ,Bernard Blossac, ,chanel, ,Christian Lacroix, ,Daria Hlazatova, ,David Downton, ,Design Museum, ,Dior, ,Drawing Fashion, ,Erté, ,fashion, ,François Berthoud, ,Galerie Bartsch & Chariau, ,George Lepape, ,illustration, ,Joelle Chariau, ,La Gazette du Bon Ton, ,Mats Gustafson, ,New Look, ,paris, ,René Bouché, ,vogue, ,Vogue Paris

Similar Posts: