Milan vs Paris: SHOWstudio's A/W 25 Fashion Illustrators Go Head to Head

Before fashion film, there was fashion photography, and 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.

Now we've had some time to reflect on this A/W 25 season, we were hoping our fashion illustrators did some talking. Refuting SHOWstudio's habitual process of spotlighting our chosen illustrator's work via a sit down Q&A, we decided to switch it up by letting our artists speak for themselves and interview each other, bringing not only their artworks but ideas and thoughts in illustration today to the forefront. First came Annie Naranian and Amber Wynne-Jones who illustrated New York and London for SHOWstudio but what about our friends in Europe? Fashion Week isn't anything without Milan and Paris and now we've had some time to sit and digest, we pulled on Mary Sinclair Gibson and old time trusted SHOWstudio contributor Jacquetta Crook to do some talking. Scroll on to read about how both artists are reflecting on the importance of drawing by hand in the age of AI as well as the colour, shape and signature style of their work as seen in their Milan and Paris A/W 25 womenswear depictions.

Mary Sinclair Gibson: What are some of your sources of inspiration, and how do they influence your artistic style and choice of subjects?

Jacquetta Crook: Fashion photography has been one of the most significant influences in my work since buying my first copy of British Vogue magazine as a teenager in the late 90s. By the early 2000s I was pursuing my dream of becoming a fashion photographer at university, and had discovered the cult bookshops in London selling copies of i-D, Self Service, The Face, Dazed & Confused, and AnOther Magazine to name but a few. I would spend ages scanning the pages of these magazines, looking for the best fashion stories inside, and then carefully selecting which one to purchase and take back to my collection. During this time, there was a shift in the types of models that were being cast for these photos shoots, often possessing a more unconventional aesthetic and challenging pre-existing beauty norms. I was fascinated by this idea, that the overlooked wallflower at school could find a place in the fashion world, where her uniqueness is celebrated on the pages of these glossy publications. I think on some level I identified with that… but as a fashion student and not a model!

Due to a lack of funds and resources (and possibly talent), the results of my own photo shoots were less than satisfactory, especially when compared to the likes of Tim Walker, Corrine Day, Helmet Newton and Nick Knight. Then something happened that changed everything. I went to see an exhibition in London called Fat Bottomed Girls by the artist Julie Verhoeven, and her drawings started appearing on the pages of Dazed & Confused. Up until this point, fashion illustration had been all about big alien eyes, pouty lips and long legs that were traditionally two thirds of the model. Julie Verhoeven opened my eyes to an alternative way of interpreting female characters and form, one where imperfection and quirkiness is embraced. I started illustrating the models instead of trying to photograph them, and my tutors and peers all said 'Yes, do that', so I did. Now, I find drawing to be a cathartic and therapeutic practice. What motivates you to draw? Do you find it to be a great source of joy?

MSG: I couldn’t agree more, I use drawing as a mindfulness technique and a way to relax and unwind at the end of a busy day. It’s a way to channel my thoughts and emotions into something tangible. When I am being creative is when I am at my happiest. I wanted to pick up on how you gravitate towards using pencil in your drawings. What techniques or mediums do you prefer to work with, and how do they shape your illustrations?

JC: Over the years I have experimented with paint and art materials, played with digital image making, and fallen down various rabbit holes, but I always seem to arrive back at pencil on paper. For a long time, I felt like my drawings should be a starting point for something else, preliminary sketches for something bigger and bolder perhaps. Nowadays I’m more accepting of them as finished products in their own right. With the rise of AI-generated imagery, I find I increasingly want to make things that are tangible, that show the presence of a human hand. Drawing feels nostalgic, maybe because of its deep-rooted connection to childhood, and for me it has an intrinsic quality and value that is good for the soul. What about you? In an era of fast fashion and AI, do you think there has been an increase in the appeal of things made by hand? When everything feels so impersonal, do you think we gravitate towards things that feel real and authentic, such as art?

MSG: I think it really varies between age and circumstances, I find it really alarming how brands like Shein have become so popular and that their customer base seem indifferent to how their clothes are being made, the environmental impact and ethical implications. But in contrast there is a real shift towards buying second hand and ‘make do and mend’ which I think is really refreshing. Handmade items embody a story and a personal touch that can really resonates with people. But they also often come at a higher cost, which for some isn’t attainable in the current climate. So perhaps we will see people experimenting more with a ‘do it yourself’ approach and making their own artworks. As for your own individual style, how do you think that's evolved over the years? Would you say there are any experiences or events have contributed most to that development?

JC: In my twenties I lived in London and had a close group of female friends. We came together from all over the world, our paths crossing in that particular moment in time before moving on. On the surface we looked like we were living our best lives, but behind the scenes the cracks were starting to appear in our personal lives, and we supported each other through some dark times. At some point my parents gifted me a SLR camera, and I started carrying it with me everywhere we went. My friends became the subjects of my impromptu photo shoots, my muses if you like. There was a trust and mutual respect that enabled me to document our time together, we understood what we were doing without needing to explain. When I look at these photos now, there is beauty captured within a darkness, and I can see how vulnerable and powerful we were as women. By the time I was 30 I had left London to bring up my children in the countryside where I grew up, but that experience had a profound and lasting effect on me. My drawings became quite melancholic and a bit disturbing, but always intimate and with beauty in the imperfection. With the passing of time, and as I’ve grown and matured artistically, I now feel more at peace with myself and I see this tranquility reflected in my portrayal of my female characters. I still enjoy the ‘glitches’ though, when the illustration slightly unravels and comes undone. Leaving the picture unfinished with its inner workings exposed are important characteristics of my work, and I try to maintain a work-in-progress spirit. In the future I plan to continue this dialogue with other women through my image-making. What about you? Would you say that ageing has changed your perception?

MSG: Ageing has undoubtedly shifted my perception. With time comes a deeper understanding of life, art, and the human experience. The way I view the fashion industry has also shifted, through my work as a womenswear designer I have become very conscious of the impact this industry has on our planet which I am still figuring out how to navigate. It's hard for everyone but especially those just starting out. What advice would you give to emerging illustrators looking to develop their own unique style and find their place in the industry?

JC: In terms of forging an identity, I think Tim Walker said it best when he quoted Jim Jarmusch and wrote 'You take inspiration from whatever moves you, and you find your own voice in those things'. I would add that with all the noise online, it’s easy to lose sight of yourself. Sometimes everything is so loud and overwhelming, you can’t hear yourself or feel your intuition clearing. While it’s nice to see what everyone else is doing and take inspiration here and there, I find the biggest source of creativity always comes from within. When you are being true to yourself, your work becomes more personal and authentic, and that’s really appealing. What do you think of the creative process? Do you view your personal experiences as part and parcel? What do you think of emotion as a source of inspiration?

MSG: I was brought up in a household where people made things and where we were encouraged to explore our own creative ideas. My parents frequently took us to galleries and museums which exposed us to a diverse range of art and culture. I have also been really fortunate to have had talented artists and creators that have taught me over the years and helped guide my creative process and my career. This opened my eyes to different perspectives and techniques, highlighting the narratives and stories embedded in art. Reminding me that creativity is not just about the final product but also about the experiences and emotions that fuel it. When starting a new piece I enjoy reading about the concept behind the collection as well as looking at the behind the scenes footage. I find the models are more relaxed and unguarded backstage which brings the outfits to life in a different way to what we see on the runway. To change the subject entirely, if you could host an artist retreat anywhere in the world, where would it be, who would you invite (living or deceased) and what activities would you include?

JC: These days I like to be surrounded by nature, so I would say the forest close to where I live - I have replaced the city skyscrapers with majestic pine trees! I was going to say I wouldn’t invite anyone because I like my own company and I’m easily distracted, but that’s not very fun, so lets say all my aforementioned influences: The fashion photographers, a few models from the late 90s/early 2000s, Julie Verhoeven etc. Let’s invite the artist Egon Schiele so I can watch him work, and Vincent Van Gogh because I have a soft spot for the misfits and the misunderstood. Together we would conjure up some magical wizardry. Wes Anderson could turn it into a film or animation, and Nick Cave could write some music that would eventually become the soundtrack. Oh, and Enid Blyton, I was obsessed with her books when I was growing up… she has a lot to answer for. I think you're onto something with this question - especially considering how with the rise of social media, the noise online can be overwhelming. How do you navigate this digital landscape and still remain true to your work?

MSG: I find it quite tricky, but I’ve found the best way to navigate it is having separate accounts for who I follow for work and who I follow in my personal life. I’ve also found with age I spend less time on social media, I’ve come to realise I really enjoy seeing things in real life rather than on a screen. What I think technology has become useful for is I often listen to audiobooks or music when I’m drawing and I find sometimes looking back over my work it will remind me a certain part of a book or a song or album. Do you prefer to listen to music, podcasts, or other audio while illustrating, or do you find that silence helps you focus better? If you do listen to something, what are your go-to choices?

JC: I’m a creature of habit and I like to listen to Lauren Laverne on Radio 6 if I’m doing anything creative, she’s practically my co-worker at this point! However, If I’m struggling or feeling mentally fatigued, I do prefer complete silence. I associate my work with specific periods of my life. Since leaving home at 19 I’ve moved a lot, every two to four years in fact, so when I look at my pictures I’m transported back to that location, where I found a space to do my work, and what was happening then in my life. It’s like time travelling. Do you see yourself in the subjects of your work?

MSG: Maybe not so much in the subjects of my work but more so in the style I’ve developed over the years. One of my high school teachers described me as a perfectionist and I think that’s reflected in the level of detail I encapsulate in my illustrations. What would you say was your favourite show and look from your Paris A/W 25 coverage?

JC: I loved the Lychian style set design of the Valentino show, so I had to draw one of Alessandro Michele’s iconic special-occasion dresses. I chose a pastel coloured floaty design, not that colour matters when drawing with graphite pencil. The gown features a cut-out heart shape on its chest that is adorned with lace, a bow at the waist, layers of delicate ruffles cascading down the sides of the the skirt, and the shoulders and neckline embellished with pearls. There was so much to draw. I’ve been a fan of Michele since he became Creative Director at Gucci. When you hear him talk about his designs and process he’s so engaging and you can tell he is a wise soul. I think his collections for Valentino might be quite divisive, but personally I welcome his eccentricity and unique creative vision. It’s interesting seeing how it has rubbed off on his guests and all their wonderful interpretations displayed in the audience. It’s like some brightly coloured, maximalist dressing-up-box club with a dystopian underbelly. Like it or hate it, a show by Alessandro Michele is always exciting and brings a much-needed dose of originality to the runway. Separate to Michele, i've noticed that clothing matters deeply in your pictures. Why do you take pleasure in portraying clothes?

MSG: I think I approach fashion illustration in quite a literal way and use it to communicate what I have seen. So naturally both the garment and the person wearing it are both key features in what I illustrate. I am most drawn to garments or outfits that have interesting structure, scale, texture or jewellery detailing. I also really enjoy drawing faces and people which I believes stems from studying the likes of Leonardo da Vinci at school and attending life drawing classes.