Megan is a British artist and illustrator based in London. She has extensive experience working within fashion and commercial spaces.

"Since a young age, fashion and creativity had been a core fixture. I’d grown to have a huge interest in vintage fashion, working in many of Leeds vintage shops on the weekends while at school. I spent my childhood training in performing arts, coming from a family of musicians, but at 15 I had to make the choice between a performing arts career, or to explore art/fashion…

There was no fashion or textiles at my school, but luckily I had a great art teacher who entertained my curiosity, sourcing equipment and inspiration that aligned to what I was researching in magazines and on Tumblr.

I’d always been encouraged to be creative, but I’m from Wakefield, which had very little going for it other than the Yorkshire Sculpture Park and now the Hepworth. So, I knew from early teens I wanted more, and to go elsewhere. After a trip to London with family, I walked past London College of Fashion in Oxford St, and something sparked – I searched online and by chance found a course open from 16, but it cost a tonne of money, and it seemed impossible I’d get in… But I applied ‘to experience filling out the forms’ as me and my parents laughed about and surprisingly got a place.

So the rest just snowballed and next thing I knew I was in the deep end, in London alone I just turned 16, with no choice but to keep it pushing and embrace the opportunity."

Educational Experiences

Can you share some insights from your time at the London College of Fashion and how it shaped your approach to illustration? What were some of the most valuable lessons you learned during your studies that have stayed with you throughout your career?

"I did a one year course, then battled my way onto the BA (Hons) Fashion Illustration course – after quite a strong line rejection initially… I hadn’t even known illustration was a career, and after I saw the work coming out of the course, I was hooked. After a couple of challenges set by my tutors and the course leader I got my spot. I remember being told I couldn’t draw in the first tutorial I had, so obviously I cried, got mad and said I’d prove them wrong. Comical really that I now lecture on that course 12 years later… I learnt a lot on the course, but really it was two things:

Persistence and hard work really will get you everywhere. Creative talent comes with constant practice, and a curious perspective. Being propelled by the rejections, harsh feedback and nos – which as a freelancer, has proved v useful!

As a creative you regularly have to give yourself a space to explore things that aren’t ‘your thing’ or that you aren’t naturally good at, to see if it may inform your more intuitive way of working. Don’t subconsciously run from things you’re scared of or bad at, they probably hold the key to the thing you’re trying to get…"

 

"Persistence and hard work really will get you everywhere. Creative talent comes with constant practice, and a curious perspective."

Live Catwalk Illustration

You’ve covered fashion weeks across Europe, providing live illustrations for various publications and brands. How do you prepare for the fast-paced environment of live fashion illustration? Could you describe a particularly memorable experience from one of these fashion weeks?

"I started working drawing live at the fashion weeks from my second year in London, getting tickets for smaller shows, sneaking into bigger shows and slowly developing a huge international network of creatives. It was a really exciting time, I did 8 years continuous, on the circuit mainly covering London and Paris. Drawing live was ideal for me, as it didn’t give you the time to overthink, and overwork drawings. That period and the network I built, continue to bring incredible opportunities and friendships.

I think the few shows that stick in my memory, are Y-Project’s early days, they were always a solid favourite and attending my first big shows – Celine, Yohji Yamamoto, Dior, Issey Miyake etc. But yeah solid favourite was seeing the Kim Jones for Dior Homme shows, the one where he’d collaborated with Daniel Arsham was something else."

 

 

Artistic Style and Mediums 

Your work explores texture through experimentation and playfulness across various mediums. How would you describe your artistic style, and what drives you to experiment with different materials? How has your style evolved over the years, and what factors have influenced this evolution? 

"It’s changed a lot – my work used to be a lot of movement filled line work, somewhat abstract and minimal – all physical with a mixed media approach when using colour. Whereas now the movement and flow of that work, has been translated into a new style that developed from experimentation after being gifted an iPad by Apple. It’s all now created using Adobe Fresco on iPad, using layered selections of textured colour – it’s definitely more colourfilled and commercial now. That transition required a lot of learning, testing and colour exploration – in blending physical testing and bring that into digital work it’s kept my enjoyment and curiosity peaked."

 

"Key thing is remembering it’s not personal."

 

Notable Collaborations and Projects

You’ve collaborated with brands like JW Anderson and Matches Fashion. How do you approach maintaining your artistic voice while aligning with a brand’s vision? Could you share details about a project that challenged you creatively and how you overcame those challenges?

"I think that’s the hardest thing when you’re a commercial artist, is keeping that identity and non-negotiables visually. My agent and I have found when projects come in that feel like they could stray in various directions, or are people who haven’t worked with illustration before – asking for examples of work of mine they’ve seen or liked in alignment with the brief helps.

But my key elements are pastel texture, colour palette inclusion, depth and the image having some movement – all pretty easy to keep in ‘style’ regardless of the ask. As AI continues to make an appearance it's definitely bringing a lot more ‘we want this [insert other artists or AI generated artwork]’ so knowing how to communicate your style, practice and knowing when to step away is important. I’ve had jobs where it’s so smooth as a process, like most of my work with Origins at Estee Lauder, they just got it instantly and projects moved fast – and others where mid-way it’s clear they’ve come to the wrong person or needed to change direction. Key thing is remembering it’s not personal."

 

 

Transition to Digital Platforms

With the rise of digital media, how have you adapted your traditional illustration techniques for digital platforms? What role does social media play in your work, and how has it impacted your career as an illustrator?

"I’ve definitely adapted to digital but clung onto physical making as it clicks into a different part of my brain and creativity. Re. social media I try not to get too wrapped up in it, I really relate to whoever said – create more than you consume. It’s so easy to be distracted and affected by the noise and veneer of peoples outputs "

Current and Future Endeavors

What projects are you currently working on, and what can we expect to see from you in the near future? Are there any new mediums or techniques you’re excited to explore?

"I’ve started working in series’ – I did my first few sets last year – exploring topics I’m interested in, or something that sparked inspiration that day, but they’re some of my favourite works to date. I’m hoping that work sparks some fun projects too. Commercially there’s nothing I can speak on right now, but there’s lots of cogs turning – just pushing on through to the next challenge."

 

 

Advice for Aspiring Illustrators

What advice would you give to young artists aspiring to enter the field of fashion illustration? How important is it to develop a unique style, and what steps can one take to achieve this?

"Fashion illustration specifically I think is a very small world, so I’d encourage artists to branch out – think bigger, as fashion has such an impact on so many sectors. Other than that, just focus on drawing, and doing the things you say you’d like to – don’t like mental barriers stop you.

Style develops with time, practice and knowing who you are. Just like your fashion style, it will change, evolve and tie back to how your work aligns to your life – but they’ll be constants and it’s figuring out those over time. Don’t forget your work has to light you up, not just clients – so ensure you’re covering topics and subjects you’re interested in, in ways that you want to... Portfolio development work (ie. work just for you) is SO important in this, as it makes you keep creating without a ‘purpose’.

Final tip is - If it feels like all your work doesn’t sit well together, and you’re enjoying multimedia approaches the best thing my agent ever told me was try making a ‘brand colour palette’ to start your work from – say 12 colours. You can use any other colours also but you’d be surprised how cohesive your work starts to look when that colour is considered."