Back to basics has never been so sweet
In the world of fast fashion, and fast photos, preserving manual skills is a privilege left to an elite of few fashion illustrator talents. Alina Grinpauka definitely belongs to this club: graduated in Industrial Design at the Art Academy of Latvia in Riga, she has coupled her passion for drawing with a strong interest in experimenting with materials, shapes and structures, and, above all, a constant inspiration by high fashion. Her work is a manifesto of elegantly refined search for technique in marrying paper, pencils and watercolour, resulting in delightful Art-Deco fashion portraits.
Let’s get into the magical world of visual design trough her eyes.
In the world of millennials, with fast and low-cost digital pictures that anyone can take, what do you think is the role of visual designers nowadays? How do you think it will evolve in the future?
It is widely believed that with an invasion of photography fashion illustration was dead. However, in my opinion, only now it is a time of its revival, but in new status. Despite the fact that in general now photography is used mostly, illustration also has its own benefits. Firstly, it is unique with specific charm and particular aura. It conveys a personal view of the artist. Secondly, in comparison with a photo, it’s vivacious, therefore, it leaves space for fantasy. I think in future with technological innovations(modernization),illustration will transform, possibly more into animation, which was not in the past. It could be interesting.
Do you see a substantial integration between portraits and fashion in terms of acting as a vehicle of values and desire of a fashion brand? Do you think people are receptive with visual design, or is it an elite-like mean of communication?
I noticed, if before fashion illustration was the only way of communication with a customer. It had more obvious benefits, while fashion photography was not so developed at that time and it was a mass product. However now this product is exclusive. To show high value of the brand might be possible by simply rejection of reality. For example, to replace a photo with an abstract, but vivid illustration, which could create the right mood (perception). In contrary, the situation in mass market, where there are mostly accepted persons as well as photos, considering them as a proof of the quality of the product.
If you had to pick up your life-changing drawer that you see as a model of perfect technique, who that would be?
I would say Tony Viramontes. I admire his courageous and bright style. I would not say that it influenced my creativity or works. However, his works are continuously inspiring me for many years.
Many of your portraits seem to persistently recall Parisienne Haute Couture. Do you get inspiration even from your local fashion sphere? In this case, which are the symbols of your hometown pervading your works?
Undoubtedly local fashion inspires me, I really like to attend Riga Fashion Week to see the development of local fashion market and designers. However, I’m not sure that it’s possible to see local fashion reflection in my past works. I would say that in my works probably could be noticeable the image of the modern Latvian woman, who has a sense of fashion style.
Have you ever taught of exporting your work abroad to promote your local fashion’s dictats and stimulate international awareness?
This is what I’m trying to achieve, if to think globally.
What comes next? Would you love to expand your range of subjects portrayed to men and children, or even portray other spheres than fashion? Or are you interested in exploring new techniques of drawing?
I’m trying to develop all spheres simultaneously by experimenting with a style, techniques and materials. This is very important for me, because making an illustration for me is a process neither a result. Moreover, recently very noticeable began to develop men’s fashion. I think that in close future I will try myself also in this theme.
