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The Art of Fashion Illustration by Somer Flaherty Tejwani

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Job: 10-42056 Title: RP - Art of Fashion Illustration
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Text
Aix-en-Provence, France
BREAK THE RULES:
LOVISA BURFITT
Lovisa BurÅtt often creates her illustrations using a metal feather that she dips in Chinese ink.
She also likes to mix what she calls high and low, using inexpensive pencils with dry pastels and
colored pens on beautiful, expensive paper. She often uses the classic color pairing of black
and red. “I’m always fascinated with the palette of colors that other artists use and how they
thought of that. I love a sharp vermillion red, almost an orange, and I often Ånd myself com-
ing back to that.” When she has completed a sketch that she’s really happy with she’ll put it in
her archive. “I used to throw them away when I was Ånished, but if I draw a pose that I like, I
keep it because I may draw from it again. But sometimes the sketches are really ugly, then you
just have to throw them away.”
I’ll walk around the task until I
bite into it. Once I get started I
think, ‘OK, maybe I can do this.’
Lovisa BurÅtt has been illustrating professionally for almost two decades, but her interest
in fashion started as a young child. “I would sew my own clothes out of mum’s old
curtain and I would make a skirt from dad’s old leather jacket,” she says. “When I was
about eleven, a friend asked if I was going to be a fashion designer when I grew up,”
says the Swedish illustrator, who now lives in the south of France. “I asked him what
that was and he said it was someone who made clothes for a living—so I said yes. I
made the decision then to become a designer and I kind of just stuck with it.”
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THE ART OF FASHION ILLUSTRATION | PART 2: THE ICONS
Text
Warm Leatherette Ink, aquarelle, and Posca pen.
Job: 10-42056 Title: RP - Art of Fashion Illustration
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Job: 10-42056 Title: RP - Art of Fashion Illustration
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Text
Mlle Fatale Rouge Pouf Ink, feather
pen, brush, and colored pencil.
InÛmences
With the encouragement of her father,
BurÅtt went to fashion school where she
studied to be a designer but took many
classes in fashion illustration. “I had a
teacher who would give us a brief when
we had an assignment. She would say,
‘Of course you can misunderstand, please
misunderstand, do misunderstand.’ She
meant that it was important to interpret
the assignment in our own way, to use our
imagination. For me it worked to break the
rules.” BurÅtt remembers school as a place
where she was pushed to try new techniques
and experiment with style. “Aou would
bring your favorite paper and pens and
brushes to class, and then the teacher would
tell you to swap with the person next to
you. Aou were confronted with what to do
with this brush you weren’t familiar with. It
was a really good way of learning.”
After college, BurÅtt moved to Paris, started
her own clothing line, and began to draw
more—combining her interest in fashion
with illustration. With the help of an agent,
she began receiving illustration commissions
from some of the top names in the fashion
and beauty industry. BurÅtt is known largely
for her work with Vogue, Elle, Glamour, and
Grazia magazines, beauty brands Guerlain
and Sephora, and another Swedish im-
port—retail giant H&M. “It was really fun
and free working with H&M,” she says.
BurÅtt created an archive of more than 120
drawings that the brand uses on the walls
of its stores around the world, including
Singapore, Tokyo, Athens, New Aork, and
London. “I like their attitude and it was
important to them to signal to the client that
fashion is fun. They like a touch of humor,
which suits me a lot.”
Job: 10-42056 Title: RP - Art of Fashion Illustration
DTP: LY Page: 110
42056 - Art of Fashion Illustration_int.indd 110 10/31/14 3:26 PM 42056 - Art

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