Returning to Research: How teaching at RCA is reframing my illustration practice
- Elyse Blackshaw
- 5 days ago
- 5 min read
Blog by London Fashion Illustrator Elyse Blackshaw
In the world of fashion illustration, research and theory are not often discussed. Generally speaking, the act of drawing itself is what academics may refer to as "practice based research". If you haven't been to art school or never studied art, or if you are coming from a place where outcome is the focus, you may not realise that the process itself is actually defined as research. You are "thinking through making" and discovering ways of responding to the world, materials and process.
Whilst my own world of fashion illustration appears image based and playful, you may be surprised to know how much research (both theoretical and practice based) has influenced the way I draw and the services I provide.
Thinking back to my early influences, before I knew anything of the industry and art world really, my research was focused on where I position myself in the world and what my style represents. A key influence was Niki de Saint Phalle (1930-2002) who was a French multi-disciplinary artist. As I was a student in the North West with limited exposure and understanding, I was so empowered to realise you can be multi-disciplinary. To not have to fit into any category or pathway. This artist's work demonstrated acts of rebellion through a signature language she had created. She used bold figures and immersive art to engage with deeper social issues. At 21, I hadn't quite figured out what my own concepts were, but my own signature language had been established.
Examples of Niki de Saint Phalle's work
Elyse Blackshaw's Degree Show Manchester School of Art 2013
When I returned to study MA Textiles Mixed media at Royal College of Art in 2019, I was ready to research how my work was engaging with social issues:
"The power of images has been discussed in recent years due to the takeover of social media platforms using images to advertise commercial products. They have the ability to attract, communicate and influence the viewer, both consciously and subliminally, to impact when, what and how we buy; or sometimes how we behave... With this in mind, I am curious whether the power of illustration has the ability to subvert the desire to consume and, as a result, reduce waste." Elyse Blackshaw, Dissertation "Fashion Looks So Good, No Wonder We Over Consume." 2020
My research here continued my material and style exploration, but also diverted my focus towards social and environmental impact. I had been illustrating for 7 years, and noticed that fashion illustration and the conversation around environmental issues were two worlds that never crossed paths. This was quite a curious discovery and was the foundation of my collage series that evolved into public installations. My initial concept was re-purposing my own scrap generated from my art practice to create new fashion illustrations. These sculptural fashion figures were representational of future hybrid creatures emerging from our environmental waste. The installations challenged the viewer directly to engage and be part of the conversation.
Top Left: Elyse Blackshaw's MA Graduate Show Royal College of Art 2021, Commission for Westfield London window vitrine 2021, Commission for Westfield London graphic hoarding 2021 and 2022
"Fashion illustration has always been and is a form of communication between the designer and consumer; a messenger. We could be utilising this position to depict, comment and raise awareness of the effects of unsustainable fashion... If fashion illustrators feel torn between a love of fashion and the responsibility for the environment, then as a collective we should create fashion illustrations to promote a dialogue... If we do not know where responsibility lies, perhaps we need to start communicating, with the help of those who have been in between this whole time; fashion illustrators." Elyse Blackshaw, Dissertation "Fashion Looks So Good, No Wonder We Over Consume." 2020
This research was the catalyst for my large scale fashion collage workshops where I would deliver day workshops to students ranging from 11 to 18+. In the workshop we explored traditional fashion drawing techniques that evolved into fashion sculptures and giant collages using repurposed artwork. The workshop encouraged students to find value in scrap materials when creating new fashion concepts, opening up conversations around responsibility and choice.
This workshop has been delivered in collaboration with: Sketch Appeal, Graduate Fashion Week, Wandsworth Council, Hospital Rooms - Digital Art School, Manchester School of Art, Manchester Fashion Institute, University for the Creative Arts, Newcastle College, South and City College Birmingham, Colfe's School, Eltham Hill School.
Participant engaging with the workshop by Elyse Blackshaw 2021-2025
What is shifting in my thinking since joining the teaching team at RCA?
With the students at RCA, there is a focus on purpose and positioning. However, I have been spent the past few years focused on clients and commissions, therefore it is confronting me to reflect on my current purpose and positioning. I have been critically considering the long term impact of my workshops, and whether the experience and learning has been impactful. Something that also surfaced during my MA research was sustainable products and economic status. It made me feel very aware of my own place in society and the impact of class systems. Over the past few years it has prompted me to question the relationship between fashion illustration and class system too. Like fine art, I think we need to start looking at fashion illustration beyond representation and instead as a reflection, commentary and social tool. My recent workshops and events have highlighted to me this societal need for human interaction, and fashion illustration is making that happen. I really want to dissect this further.
Here are some key questions I have been thinking about...
How do social class and access shape who becomes a fashion illustrator today?
What motivates individuals to pursue fashion illustration as a career or practice in the 21st century?
How does habit persistence in drawing reflect deeper cultural or educational conditioning?
When presented with diverse reference imagery, do participants’ choices reflect bias, aspiration, or identification?
What does the demographic profile of workshop participants reveal about accessibility and inclusivity in fashion illustration education?
How does this moment feel?
For me this is an exciting moment of expanding. I am returning to thoughts and experiments, giving time to reopen them fully. I am in a moment of movement to reframe fashion illustration as an expansive research practice.
If you are reading this, I would love to know your thoughts and reflections! Whether you are reading this via instagram or LinkedIn, share your thoughts in the comments.
Comments