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Jacqueline Bissett’s 30-year-plus fashion illustration career began during an exciting and defining period for British fashion. She received her first commission while still an art school student and soon after, she was contributing to publications including Elle and Cosmopolitan during the late ’80s and ’90s, working out of a studio adjacent to Vivienne Westwood’s in London’s famed Camden Town.
Bissett’s dynamic renderings of fashion combine fluid lines and spontaneous brushstrokes. She has lent her illustrative talents to Vogue Japan, Givenchy, Louis Vuitton, and Chanel among others and as of late to designs for Taylor Swift’s Eras tour.
Here, she talks about sustaining a creative career, looks back on being a young illustrator living and working in London and shares advice on navigating freelancing as a creative.
Jacqueline, what were the early encounters with illustration that captivated you?
I think it was illustrated figures in story books that first caught my attention when I was about 7 years old. Like a lot of young girls in the Seventies I was obsessed with stories of princesses and characters like Cinderella from the littleLadybird books - they were so beautifully illustrated and I remember sitting on the floor of my family home copying the sketches and then changing the costumes and colour- I had no idea that I was designing and Bromsgrove wasn’t really the kind of place where those opportunities arose. Luckily I had a very supportive mum who told me the ‘World was my Oyster’ and I could do anything that I put my mind to. We found out that there was a fashion course through a chance meeting of the Vice Principal at Bournville school of art on a train journey to London. Mum used to take me a few times a year from the Midlands and I was enamoured by the bright lights and big city.
How did you learn and hone your craft as a fashion illustrator?
I studied fashion design at Bournville where I learned to pattern cut, design and make clothes, none of which I had much flair for but I excelled when sketching the clothes - I loved it but had no idea that you could actually be a fashion illustrator for a job. I didn’t have much ambition to move away at that time but my tutors saw my talent and urged me to apply to Epsom College of Art. It was there that I was introduced to Lynne Robinson and several other fashion illustrators Colin Barnes and Shari Peacock. I realised that people actually worked freelance as fashion illustrators and I remember thinking, ‘If I can just make enough money to get by drawing fashion, I would be happy’. the opportunity arose with Lynne as I’d worked so hard during my 2 years at Epsom, I left with a distinction and started freelancing straight away. It was at the height of fashion illustration - Lynne and I worked for a lot of fashion forecasting companies, we would draw hundreds of figure drawings for these books that would predict fashion.
Can you talk about working as an illustrator in London during the late ’80s and ’90s?
It was fashion illustration’s heyday - so much illustration was used during this time. I had my first commission whilst still at Epsom College of Art (now UCA) after being encouraged by a tutor to take my portfolio around early to avoid the influx of leavers touting for work! I made a beeline for the art directors at publishing houses, ad agencies and design companies. The aforementioned tutor Lynne Robinson invited me to set up a new studio with her in Greenland Street, Camden Town next to Vivienne Westwood’s, it was a great area to work - very inspiring. I also got into raving at that time so used to ‘burn the candle at both ends’, occasionally going into the studio after partying all night at some warehouse party or illegal rave off the M25!
I loved working there with Lynne, eventually she moved to France where we continued to work together. When I had work in Paris I would get the train to start work in her Honfleur studio for a month. She doesn’t illustrate now but is still working there creatively - you can see her stylish signage all over the town which is such a beautiful place.
I lived down the road on Mornington Crescent and used to cycle through Regent’s Park to collect a commission (often beauty/fashion products) from Elle/Company/Cosmopolitan magazine - often 5 pages of illustrations at a time! I would rough out the pencil sketches and fax over to the art director for approval before completing the final illustrations. The work was collected the next day or so by motorcycle courier.
“Fashion continues to inspire me. I’ve recently been working with Ashish sketching his designs for Taylor Swift’s Eras tour”
What are some recent runway shows you were inspired by and enjoyed illustrating?
The last one that I was surprised to be inspired by was Victoria Beckham’s - I loved her more playful approach to her usual, more classic collections. The fall 2024 collection was more classic with a twist with clever cuts and beautiful fabrics - definitely more dramatic than previous seasons. The most striking however was Galliano’s S/S24 Artisanal collection for Maison Margiela, like many other fashion illustrators, I was so inspired to paint the looks from this strong collection which was opened by Gwendoline Christie and featured corsetry, knitwear, sheer fabrics, styled with oversized wigs, merkins and models with crooked poses and glycerin painted faces - the inspiration coming from Brassai’s nightlife portraits of 1920’s Paris.
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You illustrated the companion book for the TV series Emily in Paris, can you talk about working on the project?
This was done through my agent Illustration X who I was with for 15 years - they got me so much work but I decided to leave last year as I felt a ‘bit stuck’ creatively. Coincidentally the graphic designer for the Emily in Paris book was a lady I met years earlier from Elle magazine - we did a regular page together for about 3 years. It was a dream job - sketching Emily (though for copyright reasons I was not allowed to transcribe Emily exactly as she is in the series) it was a fun commission and I loved the creative process of sketching lots of ideas to get the overall style for the illustrations throughout the book. Paris is my favourite city to work in, always inspiring - I work at events there 5-6 times a year and still get a buzz from seeing/working next to the Eiffel Tower.
You have to move with the times and as with the ever changing nature of fashion - fashion illustration as a business shifts constantly too - you have to adapt and it’s something that I’ve always embraced to avoid my working becoming ‘staid’. I still get really excited by seeing new collections and trying to interpret them whenever I have time. I’d love to have more time to work on a bigger scale but I’m just so busy at the moment - I’m confident that I’ll have more time to experiment soon.
What is your creative process?
It has changed quite a lot with the nature of the business and most other creative businesses over the past few decades. I used to sketch everything in pencil which I still love to do but these days as I’m doing more live event work for large brands, corporate parties and weddings, it’s more spontaneous - painting from life. I work on the continuous line concept mostly to capture people sitting in front of me. When I get commissions though I still sketch ideas in 2B Staedtler clutch pencil first - I love working on Brand identity illustrations. One of my favourite jobs was for Thomas Sabo - a 6 year job illustrating(their jewellery catalogues and yearly diaries that were given to customers) a character named Lucy who was a Parisienne young woman with tumbling loose curls and a strong eye for fashion. I literally drew her in black ink in hundreds of different scenarios to promote the Charm Club range - with themes like travel, pets and fashion - a dream job which I’d love to revisit!
How would you describe your illustration style?
Fluidity and sparsity of line is my approach, often using continuous line and varying the thickness, or in one brushstroke, often black line with minimal colour which I apply before the line work to give more depth than ‘filled in’ colour. I would describe my illustration style as fairly traditional with a twist of modern. I do like to vary my style to suit each client’s brief. I find that younger client’s prefer my digital work whereas luxury brands prefer my hand painted style.
In what ways has your craft evolved over the years?
As I said previously, it’s become more spontaneous. Lockdown helped with that as I discovered Zoom life drawing sessions which were set up by dancers, reformers and models who could not work. I finally got the chance to work from live models, albeit through a screen. It helped me to speed up and eventually when events restarted it really helped my live event illustration which has now virtually taken over from my fashion illustration work. I do miss the commissions but at the moment I’m riding the wave as there’s a lot of work around and I get to travel all over the world which I love!
Who are some of the women in fashion and illustration who have inspired you over the course of your career?
My mum is my biggest inspiration, she’s always told me to ‘go for it’ & been my biggest supporter. She’s a big optimist, who even at the age of 82 likes to dress up and look nice which she always does! Lynne Robinson inspired me as a fashion student, I just wanted to be like her, her paintings were so effortless and stylish - like her. Vivienne Westwood as a designer inspired me the most - what an amazing designer and character - I love unique people who just are themselves and don’t conform to fashion trends. Fashion illustrators I love are Gladys Perrint Palmer for her quirky runway characters and the work of Jacky Blue (wonderful collages and fabulous loose line work) and Julie Verhoven - especially the work she used to do for John Galliano. She doesn’t do so much fashion work these days but she’s an incredible artist, creative director and tutor.
“When I get commissions though I still sketch ideas in 2B Staedtler clutch pencil first - I love working on Brand identity illustrations.”
What aspects of your craft do you most enjoy/love?
Experimenting with different materials and papers is my joy. There are still so many things I’d like to explore like oil pastels and paint and getting back into collaging with different papers, textures and prints.
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Fashion continues to inspire me. I’ve recently been working with Ashish sketching his designs for Taylor Swift’s Eras tour which will be part of an exhibition (possibly, it’s all a bit hush hush atm!) I also worked with Nicholas Oakwell on his couture Collection and uniform designs for 6 star hotels around the world.
Are there aspects of your work that were challenging early on that have become less challenging with time/experience?
I think a lot of it is confidence that working for so many years cannot fail to bring. I’m a bit of a show off when I’m working which is why the live event illustration suits me so well - it’s a performance, very often with an audience behind me. I couldn’t have done that when I was younger as my skills wouldn’t have been so developed.
What insights can you share on working/navigating being a freelance fashion illustrator? What are the key things that have proved valuable?
Be passionate about your work - I don’t think that you’ll succeed otherwise. Try different styles/materials, be experimental. Although you should try to keep proportions and faces consistent - then your style will strengthen. Keep your ‘fingers in many pies’ then when one area of work goes quiet, hopefully you’ll still get work elsewhere. I have worked in editorial - books, magazines. Websites to promote everything from recruitment companies to jewellery. Swing tickets in store and signage (point of sale) illustration. I do a lot of lifestyle work as well as straight fashion illustration. Live events as I mentioned are big at present and I’ve worked in boutiques for Louis Vuitton, Armani, Ralph Lauren amongst others.
Can you talk about illustrating live events in contrast to working in your studio?
It’s hard work sketching live from 3-4 hours to 8 hours at weddings or all day in stores( sometimes a few days booked together) You are on show so sometimes feel like you’ve got a fixed grim - I try to look cheerful while I’m working and you always have to be polite to customers/guests - I like that I have to dress up and make an effort but it’s so nice when I can take it all off and wear sloppy clothes in my studio - put on the radio and just relax at my drawing board.
Find us on Instagram @ParticipanteJournal. Find @JacquelineBissett.
Early in her career, Diallo assisted revered makeup artist Linda Cantello and worked on Pat McGrath’s team at shows in Paris, experiences that continue to influence the way she approaches her craft. In 2012, she moved to New York and spent subsequent years working with brands such as Chanel, Glossier and Laura Mercier. Now, she is back in Paris, balancing her career with being a mum to 3 year old Ulysse. Here, she talks about her approach to beauty, motherhood and her thoughts on representations of French beauty in the media.
Text and Interview by Joy Kaunda
Yacine, how would you describe your approach as a makeup artist?
As a makeup artist, I'm strong on creating beautiful skin and I think I can say it’s one of the reasons people hire me. My style is pretty natural, or soft glam. Of course I could do bolder looks and more creative makeup but you kind of involuntarily create your niche because people ask you to do what you’re good at and your whole portfolio ends up being oriented in that direction if that makes sense. Most of the time, especially when shooting photos, I am part of a team and I nurture a photographer or a creative director's vision. This is an aspect of my job that I love - collaboration.
And as far as my celebrity clients, I think it’s not only about your makeup style and technique, it's also about the energy you bring around them. I am really gentle and calm while working. I create a nice environment, I might spray a little essential oil mist or have fitting music on for instance; I curate a selection of skincare for them. When I work with a new client, I do some research online before meeting them. I try to really look at their prior looks, their personality in interviews, the way they carry themselves and talk and try to find the best makeup look for whatever shoot or event they have and make sure they feel empowered and comfortable.
What early touch points drew you to beauty and makeup?
My mom didn't wear a lot of makeup, she has always been very beautiful naturally, but she was very into skincare and I remember looking at her luxury beauty products as a child. I had skincare products and routines pretty early on as a teenager. So I would say skincare and selfcare has always been part of my life somehow. Also, half of my family is from west Africa so like all the kids I got slathered on with shea butter and learnt very early to take care of my skin.
Later on I got more interested in beauty through makeup. I used to buy ALLURE magazine, it was pretty expensive because it was imported, but I loved to know about all the products and perfumes, and who was behind all those beautiful images - photographers, makeup artists, hairstylists etc
I bought all the Kevin Aucoin and Bobbi Brown books. I loved how makeup could enhance or transform your face. I was also fascinated by the backstages during fashion shows. I remember watching this tv show in France called “La mode, La mode La mode” hosted by Marie christiane Marek, a fashion journalist and she was interviewing designers and documenting all the behind the scenes.
I was born in 1981 so I think also the 90’s aesthetic and the singers I loved and their music videos I used to watch on MTV really have a big imprint on my vision of beauty.
What were your initial steps to establishing your career as a makeup artist?
My first choice of career was to work in the music industry as a PR, I didn't last long.
I knew I wanted something more creative and I can't really remember why I decided to quit everything and take a makeup course. I guess my love for beauty, fashion and photography was the reason. I was pretty young and unsure of where this would go but my parents let me do what I wanted even though both of them were doctors and had no connections with this world at all.
I actually did this school part time working at a MAC store, and this is where it all started. I learnt so much there and the vibe in the company and my colleagues were so cool, diverse and open minded.
Then you got to work with the legendary Pat McGrath?
I was part of the show team in Paris which was a collective of maybe 30 + people. Working on the team was an amazing school. When I was not doing shows with her I was assisting other prestigious makeup artists, Linda Cantello is one of them, she is also a legend, people outside the industry are maybe less familiar with her name and body of work. Working closely with her on set taught me a lot about “set etiquette” and editorial work and I got to be her assistant on shoots with photographers like Paolo Roversi or Craig McDean.
“My first ever job at as fashion show was on Pat McGrath’s team…it was for the DIOR 60th anniversary show at Versailles…I was mesmerised…the clothes designed by Galliano, the makeup, Orlando Pita was doing the hair…”
Then you moved to New York? How did that time in New York shape you?
It helped me grow and gain confidence, as a woman, as a makeup artist and it has given me more of a “business” mindset.
One thing I discovered there is “hussle culture”. New York was amazing and intense at the same time and a lot happened to me there professionally and personally. It definitely made me stronger in so many ways.
Also, social media had just started and became a thing so I learned how to market myself a bit more and to deal with not only being a makeup artist that only works behind the camera but also in front sometimes. I did a few collaborations with prestigious brands where I was in front of the camera, talking while applying makeup…This was new and unfamiliar to me.
Yes, I discovered you through your collaboration with Glossier! You were in front of the camera!
YES! Glossier and Into the Gloss was a big catalyst for my career in New York. I love everything about the brand.
Thanks to Annie Kreighbaum who was their editorial director at the time, I got featured on their website for The top shelf. I also did a little commercial video as a model for one of their launches and worked on several shoots for Into the gloss website. All this got me a lot of attention from other beauty brands and clients and got me a lot of work. I am forever grateful to Emily Weiss and her former team.
I am a big fan of hers. I’ve worked with her several times to do her makeup. Her brand and vision has had an incredible impact on the beauty industry.
What would you say has been key when it comes to establishing your career?
I am from that time where as a young makeup artist you had to kind of follow a certain path and process, you had to assist first, then try to build your portfolio doing test shoots, work for free etc
I have to say I got lucky to meet the right people from the beginning, established makeup artists and agents who trusted me very early on and gave me work.
But the key has definitely been patience, having the right behaviour on set, and also not being afraid of taking opportunities when they show up without always necessarily thinking about the money you're going to make.
I want to circle back to Pat McGrath. Makeup artists/the artistry was at the centre of conversation earlier this year after she created the porcelain glass skin look for the viral Maison Margiela Spring 2024 couture show in January. As a makeup artist, what are your thoughts on that moment and its impact?
Well nothing new I should say! My first ever job at a fashion show was on Pat McGrath’s team, it was my introduction to the very high fashion world. I remember it like it was yesterday, it was for the DIOR 60th anniversary show at Versailles in June 2007. I had worked on set before that as an assistant but this was my first big fashion show, so you can imagine the impact it had on me. I was mesmerised, all the supermodels were there. It was amazing, the clothes designed by Galliano, the makeup, Orlando Pita was doing the hair…
So when the Margiela show happened I had several thoughts
First: Yes! real high fashion is back, it was so beautiful, it reminded me of that era where shows were an amazing demonstration of art and craftsmanship.
Second: Pat is the Queen forever, no question! I even watched the Instagram live she did a couple days after, where she recreated the look and I thought, only Pat can come up with a product/makeup result that will have the whole world speculate and talk. She is the best!
As a female creative, what does the work of Pat McGrath, her contribution to the fashion industry and beauty mean to you?
It's inspiring. Pat is not only an incredible artist but also managed to build a career and a business that can only command respect and admiration. She is the epitome of Art and Commerce.
“I’m very curious about everything AI…even though it might steal some aspect of the makeup artist's work. I’m also interested in tech beauty tools…”
You’re the mother of a lovely little boy. How has it been navigating motherhood and your career?
Yes I have a son, Ulysse, he’s 3 and a half now. He was born during the pandemic. Being pregnant during a lockdown in NYC was strange but I was safe and had amazing care which meant I didn't have to compromise or turn down any good job opportunities so it was good.
After his birth in France I ended up being stuck in Europe for longer than I thought. It resulted in my husband and I staying in France and giving up everything we had built in New York, and starting afresh in Paris after many years of not living here.
So I would say it’s not really being a new mother that has been a challenge, because honestly it’s the best decision I ever made and I also have a very supportive partner who helps me raise him, it’s more the context and the fact that not only was I adjusting to life as a new mom but also dealing with the sadness I had of leaving NYC, having to reorganise my life in France and trying to work here, rebuild a network etc
I am still not there yet and to be totally honest it’s very challenging mentally and financially sometimes.
But luckily my son brings me a lot of joy, and a sense of purpose so all I am focusing on now is trying to get consistent work so I can be happy also in my professional life because I love what I do. My parents had very demanding careers but I always saw them happy to go to work because it was their passion. I want Ulysse to have the same example.
The rest is pure logistics. My husband is freelance as well, he’s a hairstylist in the industry, so we don’t work every day or at the same time, we don’t take travel jobs at the same time, which allows us to not disturb our son's routine/schedule. We’re lucky that our jobs allow us to have a lot of free time with him which is not the case for every parent.
Does the rapid growth of the beauty industry overwhelm you? New brands are ever emerging. With all the noise, what separates the brands that speak to you?
It does and it doesn’t. Skincare and makeup and beauty in general is my passion so I am never tired of discovering new brands or products. I also know several brand owners that I admire and love to support by buying and talking about their products.
Even with the well-known brand I collaborate with (i.e. CHANEL) I am always so interested in learning more about product development, scientific research etc…I am a bit of a nerd when it comes to the tech aspect of the beauty industry and when it comes to more niche brands I love the storytelling, the people behind the brand and just all the branding in general.
I don't think I will ever launch a brand unless someone comes to me with an idea, but I am definitely a good curator and would love to have a digital space or a shop to recommend all the products and brands I love and want to support. I actually do this all the time in my DM with friends or even strangers. I genuinely respond to everyone who asks me for product recommendations!
What is resonating with you at present in the beauty/makeup world?
I'm very curious about everything AI, like everyone I think, even though it might steal some aspect of the makeup artist's work. I'm also interested in tech beauty tools(I own several).
I think it’s great that we now have a holistic understanding of beauty, that it comes from within, between the food you eat, the supplements you can take, your gut and mental health…I use a lot of products, yes, but I also have a very holistic approach to beauty and I try to take care of my body as a vessel. I cook a lot, I get massages if I can, a facial a couple times a year, acupuncture… I believe that if you feel healthy and balanced inside it will show on the outside. I think everybody needs to listen to their own needs and create a beauty routine or habits that make you happy and feel good inside and out. Makeup is just an option, the cherry on the cake, to help you enhance your natural beauty or transform yourself for pure fun.
As a Parisienne, what are your thoughts on the representations and ideas of French beauty communicated in the beauty and fashion realm?
Well, I have been pretty vocal about this before. I am a bit tired of that narrative of the french girl and the french beauty...not saying it’s totally not true, I do believe there is in french culture a particular way to carry yourself, or an approach to makeup, a kind of simplicity and subtlety that makes french girls look effortless. When I was living in the States some people actually made comments on how “french” I was, and maybe I am a cliche myself, and I don't know it.
What bothers me is how this french girl is represented - the marketing vision. It's getting better now, but most of the time it will be a white woman, in the streets of Paris, brunette, with bangs and she will wear red lipstick and have a baguette in her woven basket. This is obviously extreme but what I mean is that France is way more diverse than what they show and Paris is not representative of the whole of France, a lot of people who are French also have other cultures in their families. For instance I am a mixed woman born in France with roots from Brittany to Mali and Senegal!
I participated on a panel a couple months ago with the BLACK BEAUTY CLUB, founded by Tomi talabi and Asmeret Berhe-Lumax, it was the first edition in Paris and I was so happy to co-host it because I met so much interesting young women that live in Paris and it confirmed to me that a lot of young Parisiennes who are afro descendants feel the same and are trying to change this, be it in their work as journalists, or in digital marketing or any companies or just by being themselves and building a community on social media.
Participante you’re inspired by?
So many women around me are inspiring to me, but to name a few that I know or follow: Candice Kumai, Aurora James, Delphine Diallo, Danai Gurira but also anonymous people like my agent in NYC Bridget Flaherty, one of my best friends Mathilde Letourneux… honestly the list is long and growing, I am inspired everyday by other women, by their talents, achievements and resilience.
A lesson you have learned so far in your career?
Never take anything for granted!
What products did you use to create Sadie Sink’s look for the Chanel resort 2025 show?
Sadie and I have worked together previously, she is gorgeous. I love her face and the contrast with her skin and hair colour. She is always open to suggestions for her makeup so every time we try something different.
We were there for the Chanel cruise Fashion show and used mostly Chanel products apart from this Danessa Myrics product I am obsessed with called YUMMY SKIN blurring balm powder .
For complexion I used Ultra le teint foundation which is a favourite for events or red carpet when I want a long lasting foundation.
For the eyes I used crayons I love from the brand, they are called STYLO OMBRES ET CONTOURS in contour brun and contour graphite to create a soft smoky and then I used the long lasting eyeliner pencil in the colour psyché, a warm eggplant/brown colour, along the lash line. We added several coats of black mascara to add even more intensity and depth. And finally the STYLO SOURCILS Waterproof in Auburn for her eyebrows .
For lips we kept it natural with a pink nude/beige liquid lip from the LE ROUGE DUO ULTRA TENUE. I really love its long lasting power without having too much texture on the lips, it is almost like a stain.
Take a look at our latest edit HERE, a selection of Yacine Diallo's top beauty picks.
Find us on Instagram @ParticipanteJournal. Find @YacineDiallo on Instagram.
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Paris-based
makeup artist Yacine Diallo shares her top beauty picks.
