CONCLUSION

By listening and reading about fashion illustration I have increased my knowledge further:

Marketing and networking is necessary and social media is an important tool: "the art director saw my work on instagram" (Zhenya,2022). This is something I am working towards.

Working relationships are important: "you will work with different people which have a different character and different cultures some people may be extroverts others introverts" (Zhenya,2022). As an illustration student you don’t always consider this, you are often working on solo projects independently.

One of the most important aspects of material or process is enjoyment and Laura Gulshani (2020) has a passion for painting: "I feel very relaxed when I paint". I was surprised by how many fashion illustrators have a love of tactile traditional mediums, which I also share.

The situation can affect what material or process is chosen, sometimes it is important to use a material which is quick and expressive such as a biro: Joanna Layla (2022) creates site drawings, this affects the materiality: "use the media appropriate for the space."

In fashion illustration and all practices "Children of colour need to see themselves represented" (VGOURDIN 2019). Within the fashion industry "more designers are becoming more inclusive" (VGOURDIN 2019), this is feeding into fashion illustration becoming diverse, evident in VGOURDIN, Montana Forbes and Joanna Layla’s bodies of work.

I am passionate about the environment and I had not considered illustration as a sustainable option. Joanna Layla (2022) elaborates: "there is an opportunity for the industry to recognise illustrators as the more sustainable choice in image-making."

I will take this knowledge and apply it to my own practice by having more of a consideration to the material I use, recognising moral and ethical considerations and presenting my work in a professional manner to get my voice out there.