• Ana-Maria Ciocirlan
  • Bethany Bell
  • Carol Carvalho
  • Emmy Redman
  • Isobel O'Connor
  • lily moore
  • Rosie Coggin-Levy
  • Sarah Leatherland

Fashion illustration plays a huge part within all aspects of the fashion industry. Graduate Fashion Foundation is proud to support the creative practice of fashion illustration and recognizes the value it holds. We are keen to support graduates communicating their collection design concepts through fashion illustration and celebrate the presence of the ‘illustrated image’ in the contemporary fashion industry. Meet the nominees for the Fashion Illustration Award below!

Ana-Maria Ciocirlan, Birmingham City University

This fashion illustration portrays two looks from my final collection — one from the first three looks that I was able to make during my time at university. The inspiration behind my collection is based on the film Alejandro Jodorovsky’s ‘the Holy Mountain’ as well as the film maker’s profound study of the tarot revealed in his book ‘The Way of the Tarot — The Spiritual Teacher in the Cards’, two major influences in my creative and spiritual development.
Bethany Bell, De Montfort University

The illustration I created was inspired by my Final Major Project concept ‘CO-EXISTENCE’, which explored the co-existence between humans and Artificial Intelligence and the idea of a future where humans and ‘robots’ exist together. I started with hand-drawn illustrations of human faces and bone structure of hands, ribs etc. and the anatomical view of the head used in life drawing, as well as more ‘robotic’ face illustrations I created taking inspiration from human face structure and geometric shapes within this.
Carol Carvalho, University of Huddersfield

Tate London formed the basis of the State of Mind research; France Lise Mcgurn’s sleepless formed the mood as it expresses notions of loss, protectiveness, space and consciousness. Jackson Pollock’s technique of action motion correlated with Mcgurn’s swift brush stroke. Further inspiration was drawn from the likes of David Downton’s contemporary illustration style that elegantly showcases the garment, I have translated the techniques with my style and digitally altered to achieve the desired finish that captures the wearer and the garments.
Charlotte Plimmer, Nottingham Trent University
My work explores individual style and how fashion should be a playful expression of textiles and influences. The inspiration behind the collection ‘Galactic Nomad’ was inspired by graffiti photographed on a trip to Berlin. The graffiti read “Too Alien for Earth, Too Human for Space”. The collection is a human case study playing around with mixing contrasting elements of my life and inspirations as if they were being interpreted by someone from out of this world. This has resulted in a colourful and textural range of knitted materials which explore galactic surface textures and vintage garment prints.
Emmy Redman, Arts University Bournemouth

French Riviera architecture and coastal glamour are combined with 1950s’ jet-set chic to create a modern, timeless resort collection. Inspiration from shutters, parasols, and curves on iconic buildings inform voluminous silhouette, which is uid yet structured at once. To capture the energy of the Riviera and the uidity of movement so integral to the collection, a mix of multimedia was chosen, in particular the use of watercolour which allows for layers to be created emphasising the pattern, silhouette and airborne quality of the garments.
Large soft folds and layers in luxurious silk fabrics recreate movement of the parasols in a jacket, dress and full-length skirt, whilst shutters inspire pleats and tucks along the centre front and back of a shirt and curving around sleeves rendered through deft pencil strokes and water colour shading.
Isobel O’Connor, Sheffield Hallam University

My concept takes an unapologetic look into British culture and the working class that influences it. this collection references British music, icons and even the bus seats we sit on every day. It focuses on the humour that is our foundation and highlights the idiosyncrasies and wit of Britain that has accumulated over the years. above all please. Have fun with it.

With the help of reference images, these illustrations were drawn free hand beginning with sketching using pencil to form a base. Watercolour was then used to build depth, colour and pattern before finally finishing using crayon to create further depth and highlights. Detailed line work and mark making has been used when shading to create a more interesting overall effect. Photoshop has been used in restraint, to edit the pieces and to fix any areas that were troubled.
Jasmine de Baeza, University for the Creative Arts Epsom

My illustration features two final looks from my graduate collection “Who’s Watching”. The concept for this collection began with exploring paranoia through the history of surveillance, drawing from the increasingly invasive and normalised behaviour of voyeurism in society and how this is infiltrating every aspect of daily life, including our choices in clothing and outward appearance. The final garments I created reflect different aspects of surveillance and feature alternative materials such as reused metal, up-cycled film negatives and Perspex.
Lilly Moore, Nottingham Trent University

The inspiration for my illustration has come from the work of photographer Michal Chelbin on Ukraine women in prison. This extraordinary prison features floral, colourful wall coverings but with the prisoners wearing plain clothing all in a stark reality of a lock down life. The contrast of the two made me want to bring an aspect of this to my clothing and I was inspired to design a fresh, colourful floral print from photographs I took of flowers. You will see from my illustration I have hand drawn the same figure in different positions t highlight different angles of my design.

One of the many contrasts I found with Michal's work was how the subjects facial and body expressions did not mirror their surroundings, with sombre faces and hunched over backs and an empty look in their eyes the colourful background didn't convey the same emotions. The mixed media I have used is hand drawing the figures and some of the background with elements of the flowers taken from Chelbin's photographs and collage with my drawings. I chose to reverse the colour scheme so as to have a stark background with colourful clothing to highlight my design.
Rosie Coggin-Levy, Sheffield Hallam University

During an overall wonderful and insightful trip to Japan I was jolted by the omnipres- ence of schoolgirl culture, or 'JK' from the Japanese Joshi Kosei (meaning high school girl). I was shocked and saddened to see teenagers in school uniform sell their time to passers-by. Men pay to hold hands, go for a walk, or have a cup of co ee with the girls. Some even pay to sleep on a girl's lap. This is all legitimate, above board and legal. This schoolgirl aesthetic signi es youth and innocence, it seems to be worshiped on mass. It is described best by its slang term: Lolicon, the hebephilic desire for young girls. I was inspired to question this sinister normalcy in an exploration into the humanistic ceremony of ritual and desire.
Sarah Leatherland, Northumbria University

MANNUKK aims to combine the seriousness of masculinity with a camp and humorous twist, displaying the irony between masculinity and femininity. A twist of his everyday life will be shown through camp outfits, decorative details and a bright colour palette, juxtaposed with the “hyper-masculinity” advertised in “Man Culture”. Illustration plays a huge part in my concept, from detailed market research studies to organic, gritty collages that inspire silhouette and texture for the final collection line up. My aim was to include all parts of my concept in my final illustrations.