A study for one of Morgan’s illustrations for the Fall/Winter issue of Bal Harbour.
As Bal Harbour Magazine’s first Illustrator in Residence, Patrick Morgan’s work can be found throughout the Fall/Winter 2024 issue.
With luxury clientele that have included Tom Ford, YSL, and Dior, Patrick Morgan is something of a legend in the world of fashion illustration. James Bond Productions has sought his talent, as has the Tate Modern, Justin Timberlake, Celine Dion, Peter Marino, and Cameron Diaz. “Only the best and most considered work will be embraced by the luxury sector,” says Morgan, 47. “You have to be the best version of yourself, maintaining the highest of standards.”
His art has also been shown at the Museum of Contemporary Art of Barcelona and at the V&A in London, where Morgan fused fashion illustration with virtual reality in connection with the museum’s “Fashioned From Nature” exhibition in 2018. “The most inspiring thing at the moment is the rise of how art and artificial intelligence can work together,” he says.
Morgan also serves as a visiting senior lecturer at the prestigious Istituto Marangoni in Milan, and also works with FIDA (Fashion Illustration Drawing Awards), the organization he founded to help creatives and fashion artists learn how to gain better opportunities as working artists. We chatted with him about his career and the state of fashion illustration today.
Can you talk a bit about the work you did for Bal Harbour Shops?
I have really enjoyed the project with Bal Harbour. The team wanted to use alternative modes of communication to photography and gave me the freedom to be creative and feel a part of the project. I think the end results allow the viewer to use their imagination, rather than being influenced by a picture, giving them a chance to dream and look beyond the page.
What is inspiring you most at the moment?
The most inspiring thing at the moment is the rise of how art and artificial intelligence can work together hand in hand. Also, the desire for craft and the handmade in fashion and the creative sector, seeing how artists are looking back in history, working alongside artisans and celebrating their heritage.
What is your earliest memory of recognizing you were an artist?
When I was a child we did lots of sports, especially High Board Diving at an elite level, and during our time off I would create art and draw. I always loved to draw and my Mum would always push us to be creative; music and art were a really important part of our family values.
What’s your process like? Where does the work begin?
I have always appreciated drawing, printmaking, painting and sculpture, so my work will respond to a project by following any of these paths. But, I always start with a sketch and draw in my sketchbook, which I have done since leaving university.
Morgan’s interpretation of a Marni Fall/Winter 24 look.
What has been your favorite work or creative project to date?
My most favorite projects have to include showing my work in the Museum of Contemporary Art of Barcelona MACBA, working on a series of scarves for Dior (during the times of Raf Simons) and selling my work (a portrait of David Hockney) at Christies to help raise funds for the Terrence Higgins Trust.
I love the way you use color. Can you talk a bit about your relationship to color?
Color plays a big part in my life, thinking about how to bounce colors off each other, to get the viewer to feel immersed in the spirit of the work. I have always loved the work of Matisse and Josef Albers, masters of color theory and interaction.
Morgan’s interpretation of a Loewe campaign.
Where did you grow up, and how did that landscape influence your path as an artist?
I grew up in London where the colors are very grey and muted, but my Grandad Michael Treacy loved art and poetry, and regularly recited poems from James Joyce and W. B. Yeats. This really taught us the power of art and creativity.
Who has been among your most formative teachers?
I guess my Mum was my most influential person, enabling us to have the tools to draw and create, and my Dad taught me about materials and how to use tools to create bigger, more ambitious work. On the other hand, at university, my tutors were always trying to slow me down from creating work as I was very prolific. My art teacher Mrs Theodoulou loved my work and always pushed me to keep creating and painting asking me to paint our school’s mural to represent the saints of the school, which is still up on the walls more than 25 years later.
The latest edition of the “Fible,” published in partnership with Morgan’s FIDA organization.
What led you to found FIDA?
I founded FIDA to help give creatives and fashion artists a space to learn how to survive as an artist and gain better opportunities, which they might not otherwise get. FIDA has published four editions of “The Fible” featuring works by top fashion artists, from Hiroshi Tanabe to Howard Tangye and most recently David Bamber, who’s worked alongside Tom Ford for years. The organization also holds two annual awards showcasing rising stars and university new talent during London Fashion Week.
What has been the most unexpected thing to come from stepping into the role of teacher?
I have been a visiting senior lecturer at Istituto Marangoni, a prestigious school for fashion, and Conde Nast, Vogue’s Fashion College of Art. The unexpected rewards are being able to work in Paris and Milan for the summer, being immersed in the ways of Italian and Paris luxury fashion and being able to give students opportunities to partner with myself after graduating.
Morgan’s interpretation of a Fall/Winter look from Loewe.
You have numerous clients in the luxury fashion space. Is there something you’ve learned while working with one of these houses that you might like to share?
One thing I have learnt is that you have to try and understand how to become part of the brand’s DNA and how to create the desirability of high-end luxury. Only the best and most considered work will be embraced by the luxury sector and you have to take your chance and be the best version of yourself, maintaining the highest of standards.
What’s currently catching your attention in the fashion landscape?
Fashion tech is really getting interesting, however, seeing the rise of brands like Schiaparelli and Loewe really pushing the roles of artisan and craft is what I love to enjoy and relish. Fashion using new tech and young people using social media is a really interesting space, widening the opportunity for more diversity and inclusivity in art and fashion.
