Illustrating S/S 24 Haute Couture With Phoebe Howard

Before fashion film, there was fashion photography; before fashion photography, there was fashion illustration. Dazzling the pages of many of fashion's most revered publications, wondrous illustrations adorned the covers (and continued to decorate the inside pages) of Vogue, Harper's Bazaar, Flair, Tatler and many more throughout the first half of the 20th century, proving quite an asset to the quintessential style bible. Having always believed in the power of illustration, primarily when used to communicate a mood or palpable presence, SHOWstudio have long been inviting fashion's most talented illustrators, on and under the radar, to offer their unique talent in interpreting the latest season's collections.

Phoebe Howard's artistic style is entirely her own. Sure, the illustrator has her references but her skilful shading, collaged compositions and compelling use of combining light colour in her predominantly black and white works create a distinctive illustrative style that is quite unlike any other. 'Illustrating and drawing is a way of digesting and processing my life experiences', she told SHOWstudio. 'I like the immediacy and the accessibility of it, all you require is a surface and a mark-making tool. I find the process therapeutic, it helps me collate all the beautiful things I see and feel into something permanent and so the process is deeply sensitive and intuitive for me.'

Although not necessarily a 'fashion illustrator' by trade, Howard's clear-cut eagerness in deploying extensive shading techniques makes for the perfect fashion illustration. 'I am always looking for sheer textiles', she told SHOWstudio. 'I love depicting the slinkiness and sensual nature of intimate clothing and looking for patterns where they may not be obvious - in hairstyles or a look's accessories', think you saw every look on the catwalk? Howard is telling you there's always more than what meets the eye at first glance.

So far, Howard has cast her illustrative lens over the S/S 24 haute couture collections of Christian Dior, Giambattista Valli and Jean Paul Gaultier, but her work is far from over. On 26 January, the artist will set up camp for a one-day live studio residency where she'll complete her S/S 24 haute couture depictions from SHOWstudio's very own Belgravia space. Here, Howard will continue her figurative contributions that go far beyond illustrating a look from the runway, instead stepping into a designer's universe to reimagine their portrayed ideal. 'It is fun to imagine the models beyond the catwalk', admitted Howard. 'I like thinking of the pre and post-show flurry of removing clothes, reapplying make-up, leaning on dressers behind curtains. I think fashion illustrations are successful when they capture this movement and the whole performance of a show; this is what truly brings clothes to life'.

As for why she thinks fashion illustration will always have pertinence, Howard's answer is as honest as it gets. 'Illustration gives us a valuable insight into how others see the world', the artist reveals, before continuing: 'I think to have this insight into the minds of others is a very special thing as it broadens our bracket for empathy, this is why it will forever be relevant.'

'The devil is in the details' is a quote we're all familiar with, but it's only when you look at Howard's body of work do such words spring to life. Never has an artist been able to easily conjure up such magic by abstractly drawing a pair of ballet pumps (à la Simone Rocha for Jean Paul Gaultier). If you promise us one thing, be it that you remember the name Phoebe Howard - we predict it'll only be a matter of time before her work will gain significant attraction.