Long before photography, there was illustration. As a visual art, fashion has always been dependent on the best means of conveying its message to the eye. For this, words can never be as effective as a picture - which conveniently puts all us fashion writers in our place. No matter how good our descriptive powers, they are sure to be less powerful than a single image which can be "read" faster and more thoroughly than any prose. Hence the long history of fashion illustration which originated in the 18th century when the first designers known by name started to emerge in France. They needed means to let existing and potential clients know of their new work, and illustration was the ideal form for this purpose. Engraved fashion plates were widely distributed and from these, women could see the newest styles. In the last century, publications specifically devoted to fashion began to appear regularly, creating still more demand for illustrators. Even at the start of the present century, line drawings still predominated in magazines such as Vogue and it was only with the emergence of photographers such as Baron de Meyer and George Hoyningen-Huene that demand for illustrations declined. Inevitably, photography looked so much more contemporary and fresh than its predecessor which could look hopelessly old-fashioned. The last great fashion illustrator was Antonio Lopez who died in the mid-1980s, a man renowned as much for his personal flair as his ability with a pen. Now, however, it seems as though illustration may be on its way back into favour. At the moment, there is something of a reaction against fashion photography much of which looks as though the clothes being featured are an irrelevant and minor detail. Photographers can be more interested in conveying a mood or their own technical skills than the work of the fashion designer. The essential purpose of the fashion photograph has been lost. In contrast, the illustrator is far more likely to focus only on the relevant piece of clothing. Additionally, the resultant work will usually give an excellent sense of how an item feels and flows. Illustrations capture a moment in time similar to a paused still frame. They portray a depth and movement of fabric that is almost impossible to capture in a photograph. Where fashion shoots can be quite stale, sketches and drawings are fresh and can offer a better sense of three-dimensional movement. One designer who has become aware of illustration's possibilities is Louise Kennedy. She discovered the work of David Downton about two years ago and has used him for the past three seasons. "I think it's because he gets a great feeling for the clothes," she says. "You can see the shape and form of the women wearing the garments. These sketches are as fluid to me as a photograph; they capture the essence of the fabric in its drape and fall."
Drape is particularly important to Kennedy this season, as she is using a lot of delicate fabrics with fine prints. Materials for spring/summer include a wool/viscose blend, silk satins, jerseys and a new stretch linen developed in Northern Ireland. With the last of these "we can cut quite sexy, fitted jackets." Colours are often from the soft pastel spectrum, with pale lilac and pink as well as a sea green and sky blue for suits, all of which are ideally suited for delicate watercolour illustrations. But there are some darker pieces too. "The one I love," the designer says, "is a navy faded chalkstripe in virgin crepe."
Louise Kennedy explains the inspiration for this collection came from the elements, with details such as water splashes featuring on devore velvet. The main print is based around the idea of dandelion wishes - those feathery wisps dispersed in the air by a breath of air. Someone in her office has therefore suggested she should hum "Every little breeze seems to whisper Louise." "The essence of the whole collection is very feminine, flowing, romantic. We've done some side-buttoning jackets and used quite a bit of visible seaming detail." Jackets have always been central to her work but their shape is softer this season than for some years past. "We're reducing the shoulder pad all the time. The mannish pad really didn't perform for people, but I've a huge feeling women still want tailored garments. Personally, I could never imagine going out in just a sweater or a cardigan."
"Our signature, what customers come back to us for, is the jacket. The essence of the style is that once on, you should be able to forget all about it - there's nothing worse than worrying over what you're wearing. The jacket now has to be modern and work with your life." This philosophy applies to Louise Kennedy who is now busier than ever before. As well as the new uniforms she designed for Aer Lingus staff - they come on stream at the end of next month - she has been commissioned by Ulster Bank to produce a similar line of clothing for the company's employees due to appear in a year's time. Now Tipperary Crystal has asked her to create a line of glassware, following on the success of fellow designers John Rocha and Paul Costelloe in this field. Whatever the eventual work, this is one area of her work which will probably not respond well to being reproduced in a gentle colour wash.