White Paper

P O R T R A I T _

"...nothing can compare with that first flash of black ink on white paper."

What triggered your move into fashion illustration - was there something specific?
Absolutely. In 1996 I was sent to draw at the Paris haute couture shows for a magazine. It blew me away! I was totally unprepared for it. Couture really is a parallel universe - I've heard it described as the kingdom of indulgence, which is true, but it is also extremely inspiring for an artist or illustrator; the worlds most beautiful women, designers working without constraint - the sheer theatricality of it all - there is a lot to draw!

What makes an interesting fashion subject?
I think the most important thing is the sense of the body in the clothes. After that, proportion, colour, a detail. Anything can catch the eye - but what is interesting in fashion terms isn't necessarily what makes a good drawing and vice versa.

Lets talk about your work methods. How do you arrive at the elimination of detail?
In order to leave something out, first you have to put it in, or at least understand how every thing works. I do dozens of drawings on to layout paper taking the best from each one as I go. When the drawing looks right I start to eliminate, to de-construct if you like. I keep working until it looks spontaneous.

What for you makes a successful fashion illustration?
Fluidity, mastery of the medium - capturing a sense of the moment, layout and use of space and most important of all, strong drawing.

So would you call yourself a portrait painter?
No! Absolutely not. Lucien Freud, Graham Sutherland and Jenny Saville are portrait painters.

DAVID DOWNTON INTERVIEWED BY TONY GLENVILLE .

TONY GLENVILLE IS A FASHION WRITER, LECTURER AND HISTORIAN