GeorgMartin

I draw fashion the way it is actually seen — at a glance, in motion, half-finished in the eye. The studio works almost entirely in ink and gouache on heavy cotton paper, and every figure starts as one unbroken line laid down in a single breath.

Everything after that first line is subtraction. What survives is posture, weight, the fall of a hem, the angle a shoulder holds for a second and then gives up. Those are the parts a photograph flattens and the parts I am paid to keep.

I have worked from the front row of shows, from fitting rooms at midnight, and from a table in Berlin with the window open. Fourteen years in, the method has not changed much: watch longer than you draw, then draw faster than you think.

Clients come for editorial spreads, campaign keyframes, live drawing at events and private portraits. Some of the work ends up in print across Europe; some of it ends up on a wall in somebody’s hallway, which I mind rather less than I expected to.