CLUSTER ILLUSTRATION SHOP

ILLUSTRATION JOURNAL

CLUSTER ILLUSTRATION FAIR

In our series How I make it work, we interview established illustrators to learn how they have built a career in the industry, and the advice that they would give to those graduating from art school this year. This week we spoke with London-based fashion illustrator and artist Joanna Layla, who has been selected as a FIDA’s Fashion Illustration Drawing Awards’ ‘one to watch’ for 2021, and balances a busy schedule of illustration commissions with being a mother to a young child. Alongside working with fashion editors, brands, and magazines, Layla also exhibits her original works on paper with Bleur, London, and is a juror for the Cluster Illustration Residency.

How did you become an illustrator?

Drawing is one of my earliest memories, and it has been a constant in my life, something I almost took for granted. I am also passionate about stories, visual language, and the way that we communicate, and chose to study English Literature at university.

During my degree, I realised that it was really the shapes and forms within narratives that most interested me, the visual language of storytelling. I was very fortunate that my course at the University of Manchester allowed me to focus on the areas that fascinated me, rather than following a traditional path. I loved my degree and it equipped me with transferable skills that have helped me in responding to briefs and communicating ideas.

After university I worked for a short time in the charity sector and ended up working in a design capacity. I did freelance work on the side, and although I didn’t realise at the time, these jobs were illustration projects. I was so lucky that someone at Central Saint Martins saw my work and told me that I was an illustrator. So really illustration found me.

Fashion illustration is about communicating the way we tell the story of ourselves visually. It brings together my love of drawing, capturing moments and gestures, and the visual language we play out every day in how we dress. Fashion illustration epitomises everything I am passionate about.

Living in London is a gift, especially to a fashion illustrator. The amount of visual information you are absorbing daily without even realising is awe-inspiring; details, looks, garment cut and design. Living in London, you also meet lots of creatives, which gave me the confidence to take the leap to becoming a freelance illustrator.

What impact has becoming a mother had on your work?

Having a baby has led me to have more belief in my work, and a stronger voice. The first project that I undertook after giving birth in late 2018 was exhibiting at Cluster Illustration, in May 2019. It was the first time I created work for myself, and for my child, that I was really passionate about, focusing on fashion and sustainability, rather than responding to a brief. The response to that work was amazing, including among art directors, and has allowed me to become a full-time fashion illustrator.

When you have a child your relationship with time changes; time expands. Having less time in whichto get things done has made me bolder, more focused during the time that I have available, and less tentative in my response to briefs. It has allowed me to own my work, my voice. And I am so lucky that clients have been happy with the result!

How do you manage your time?

My partner is also a freelance creative, and we chose to divide childcare equally between us. Neither of us wanted to stop creating – which is inextricably tied up with our identities.

Being freelance parents has definitely given both of us greater flexibility when it comes to juggling work and baby: when my deadlines are particularly intense, he is able to switch the days when he cares for our child, and vice-versa. We probably work more hours than a standard working day, but the times when we work has shifted, fitting around when our child is sleeping or napping, and our work-days.

As an artist, particularly in Lockdown, it can be difficult to have a cut-off point from work – caring for my son definitely creates a pause, a magical space for me. When I’m with my son, I’m fully focused on the moment, and this gives me headspace from my work which actually makes me fresher and more focused when I return to it. It’s so important for artists to find that space to disconnect from work, to give your brain time to refresh – having a baby has created that for me.

There are definitely challenges, but I feel that I’ve found a synergy in the relationship between work and motherhood: having the ability to work and create makes me a better mother, being a mother makes be a better artist.

I’ve also found that my clients in the fashion industry have been incredibly supportive – nobody bats an eyelid when someone brings their child to a meeting or a zoom call.

What advice would you give for those graduating from art school now, or looking to establish a career as an illustrator?

I’d suggest reaching out to your own network of friends and family to find your first briefs and create a portfolio. Let them know you are looking for illustration work. You’ll be surprised how quickly you can pick up smaller illustration jobs. And working to briefs and deadlines – within your network - will help you to understand how you work under pressure, and to develop your voice and style as an illustrator. When large briefs come to you – and they will – you will already know how long something is likely to take you, how to approach a brief and the kind of work that you are drawn to and enjoy. Art directors are also more likely to commission you on the basis of work that you have created to a brief, and a deadline, than a portfolio of images created at leisure.

Developing a consistent style and voice as an illustrator is important, as it will give potential clients a better understanding of what they will get if they commission you. When you have secured a commission, I’d always recommend asking your client to identify an example of your work that they particularly like, as it will give you a better insight into what they are looking for, and that they want you for your style.

Once you have a portfolio, I’d recommend sending physical postcards to clients that you would like to work with, as art directors can respond well to seeing work physically.

You might need to take on a part-time job to support yourself initially – even if you only have two days that you can devote to your creative work, you can get a lot done with that precious time.

And trust your instinct when it comes to accepting commissions: it will be so much easier to work on projects that you’re passionate about – if they’re not for you, recommend someone else you know.

I think all artists experience self-doubt, it’s how we learn, grow and push ourselves. Trust yourself and your ability. Illustration is a job where you never stop learning, growing and evolving.

How do you feel about being on the panel for the Cluster Illustration residency?

I am over the moon to be one of the jury selecting the next Cluster Illustrator-in-residence.
Cluster and its wonderful creative director
Ema Marinova were pivotal to me making a full-time career as a fashion illustrator and inspiring me to believe in myself and my work.
It’s a huge privilege to be a part of this panel. The residency is an amazing opportunity for any illustrator to develop their work in the security of a funded residency and really brilliant mentorship. I am so excited to see the work of the illustrators and be a part of this new journey!