Brushstrokes and brand names: fashion illustrator Eleen Tan discusses her artistic path to success

Since 2010, Tan has honed her skills by creating stunning fashion imagery. In recent years, she also engaged in live sketching at client events, capturing the essence of stylish attendees dressed in designer ensembles. She has even collaborated with designers she admires, such as Cassey Gan, Bremen Wong, Ambersze London and Yoke & Theam, for their fashion illustration projects.

Highly accomplished within her niche, Tan’s client list includes Chanel, Bvlgari, Burberry, Dior, Louis Vuitton, Gucci, Moschino, Ferragamo, Tory Burch, Cartier, Tiffany & Co, Valentino, Roger Vivier and more. She has also worked on brand collaborations with companies such as Aldo, Tumi, Lancôme, L’Occitane, Nudestix, Wycon Cosmetics and others. “I’m excited about exploring more collaboration opportunities in the fashion industry, as well as working with other artists and brands on innovative projects that inspire,” Tan says, considering her future hopes.

Although Tan admits that she fell in love with fashion illustration while pursuing a diploma, it was her grandmother who laid the foundation for her future. “When I was very young, I would often follow my grandmother to the tailors, where she would customise her garments. I watched her sketch designs with the designers. In her free time, she would also sit down and draw with me.”

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Tan acknowledges that societal expectations forced her grandmother to conform, and that time spent with the tailors enabled a reclamation of self. “The older generation of women didn’t have the luxury to do all they wanted to do. They were expected to marry and take care of their families, so my grandmother didn’t have the same opportunities to do what she liked, although she loved fashion.” Her grandmother wanted a different path for Tan, nurturing her creativity by ferrying her to and from drawing classes on her bicycle.

She also regards English artist, illustrator and author Jason Brooks as a major influence on her work. “He was a pioneer in the fashion illustration industry, particularly in digital fashion illustration. I was fortunate to attend his session, ‘Fashion Illustration: Portraits of Paris,’ in conversation with author Tony Glenville at the Victoria and Albert Museum in London in 2013. It was one of the most inspiring experiences I’ve had, and meeting such an internationally recognised fashion illustrator left a lasting impression on me.”

Today, watercolour is Tan’s favourite tool of the trade. “The soft, flowing quality of watercolour lends itself beautifully to depicting the movement and texture of garments.” Occasionally, Tan combines traditional techniques with digital tools, enhancing her work digitally with programs like Adobe Photoshop, Illustrator and Procreate to create uniquely contemporary outcomes without sacrificing the warmth of hand-painted art.

Tan has learned that adaptability is important, accepting that new technologies are here to stay and it’s important to keep an open mind and experiment to stay relevant in the fast-paced fashion industry. As technology becomes more integrated, Tan believes it will open new and exciting ways to showcase her work and bring her artistic vision to life.

Regarding generative AI, Tan describes her experiences positively. “These tools have been particularly helpful in enhancing my conceptual writing skills as I have struggled in the past to articulate my ideas.” Strong communication skills are important to contribute effectively to projects, work with clients, self-promote, connect with a broader audience and open the door to more career opportunities.

Tan does not believe that AI’s capacity to generate fashion designs poses a risk to her career. “AI cannot replicate human creativity or intuition. It lacks the depth of an artist drawing from their life experiences. It cannot mimic spontaneity or originate a unique artistic voice.” Without human input, AI tools cannot presently make ethical and moral considerations, such as avoiding plagiarism or cultural appropriation. “Human judgement is essential for navigating these complex matters with sensitivity,” Tan says, confident that future clients will continue to prefer collaborating with creatives over machines.

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“I believe there is perfection within imperfection,” says Tan, who admits she has sometimes suffered from being overly self-critical about her work. She appreciates the opportunities social media has provided, having amassed 8,800 followers on Instagram. “Social media has been crucial in showcasing my work to a global audience and allowed me to connect with potential clients, industry professionals and fashion enthusiasts who might not have discovered my work otherwise.” Staying updated on industry trends and receiving feedback  through digital platforms have also contributed to her creative growth.

When asked about her future plans, Tan hopes to paint on a larger scale, explore new mediums and expand her artistic expressions beyond illustration. “I had the opportunity to create a sizeable illustration for Sincere Haute Horlogerie (SHH) in 2023. It was a novel experience and I found it interesting. I will explore taking a more artistic approach to my work in the next few years as it will take time to experiment, plan and eventually showcase. I believe that the right opportunities will come at the right time. It’s important not to rush; just work hard and doors will open.”

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