Decoding Celine
Cover image by Eloise Corr Danch
As part of our Illustrating Fashion series, artists were invited to step into the world of Celine – not simply to replicate its collections, but to interpret its identity. The conversation began with the brand itself: a house built on precision, restraint, and a quietly assertive point of view. Across its evolution, from the intellectual clarity associated with Phoebe Philo to the sharper, more graphic sensibility of Hedi Slimane, Celine has maintained a distinct visual language. It is a brand where silhouette speaks louder than embellishment, and where confidence is conveyed through control.
Image by Inna Stein
This formed the foundation of the project. Rather than focusing on garments alone, artists explored how to translate that sense of attitude into image-making. What does minimalism look like in line? How does restraint appear in composition? The work that emerged answered these questions in strikingly individual ways.
Image by Eloise Corr Danch
The review, led by FIDA founder Patrick Morgan, became part critique, part conversation, and part forward planning. Artists presented their submissions sequentially, opening their processes to discussion while engaging with feedback in real time. What stood out immediately was the diversity of approach. Some works pushed material boundaries, using embroidery as a form of drawing, where thread replaced line and texture became the language of illustration. Others leaned into fast, expressive mark-making, capturing movement and character with an immediacy that felt both spontaneous and intentional.
Image by Iris Fogel Ben Hamou
There was a strong sense of curiosity running through the group. Artists experimented with mixed media, explored unusual compositions, and embraced both precision and looseness depending on what best served their idea. In many cases, the work moved beyond traditional fashion illustration into something more exploratory – an investigation of how fashion can be felt as much as seen.
Image by Tamiyo
As the session developed, the conversation naturally shifted from creation to context. There was a shared understanding that illustration does not exist in isolation; how it is presented, documented, and positioned is just as important as how it is made. Artists were encouraged to think about their work as part of a wider journey – whether that be exhibition, publication, or commercial collaboration. Pieces that felt particularly strong often carried an inherent sense of application, suggesting themselves as campaign visuals, textile designs, or editorial series.
Image by Susana Gomez
What made the submissions compelling overall was not a single style or technique, but a clarity of intent. The most memorable works felt assured in their decisions. Lines were purposeful, compositions considered, and materials used with confidence. There was also a noticeable shift away from overworking; many of the strongest pieces embraced simplicity, allowing space and suggestion to play an active role in the image. In this way, the spirit of Celine – its restraint and precision – echoed through the work, even when the visual styles differed dramatically.
Image by Fulya
For those looking to develop their own approach to fashion illustration, the session offered a clear message: progress comes through making. Experimentation is not a side path but the core of the practice. The act of trying, adjusting, and refining is what leads to a distinctive voice. Equally important is the ability to edit – to recognise when a drawing has said enough, and to let it breathe.
Image by Selma
There is also value in thinking beyond the single image. Building a series, exploring a theme, or refining a consistent visual language can open doors to new opportunities and audiences. And while visibility matters, it is the right visibility that makes the difference – placing work in front of those who understand and can engage with it meaningfully.
As the session closed, attention turned to what comes next. The project continues to grow into a broader platform, one that will not only showcase work but connect artists, archive processes, and introduce new ways of receiving feedback. It reflects the ethos at the heart of the series: that illustration is not static, but an evolving dialogue between artist, subject, and audience.
Image by Kahori Michelle. F
This latest chapter, centred on Celine, revealed a group of artists deeply engaged in that dialogue – testing ideas, refining their language, and pushing their work forward with both curiosity and intent.
This month we are working on Calvin Klein. If you want to join in, sign up for Project Membership here.
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