Drawing Conclusions: Illustrators Jacky Marshall and Blue Farrier Spill the Ink on the Couture Collections

July 14, 2025

Blue Farrier and Jacky Marshall drawing the couture for Vogue Runway

At the couture, fashion’s ultimate—and most expensive—expression, haute is usually synonymous with perfection. And, for the most part, that remained true this season. On offer were a multitude of perfectly pretty gowns and seriously sexy embellished pieces destined to dazzle. These reflected a world cushioned from care and chaos—though other designers, like Glenn Martens at Maison Margiela and Viktor Horsting and Rolf Snoeren, didn’t shy away from reality while still striving for beauty. Personality is often to be found in imperfection and in gesture. The latter defines the work of fashion illustrators Jacky Marshall and Blue Farrier, who drew the couture in ink, pastel, and pen for Vogue Runway. Both deeply embedded in the fashion system, they share their informed view on the season below.

Vogue: For starters, what do you make of this designer round-robin. What does it say about the state of things?

Blue Farrier: The musical chairs of creative directors, all hugely talented, doesn’t seem to be that surprising to me, and reflective of the markets…. Talking from a woman’s perspective, I would have liked to have seen more of a championing of women creative directors, more diversity, as well seeing more move up from younger designers. I hope in the future years this will be more the case.

Jacky Marshall: I find it hard to keep track of who is moving where. A fashion merry-go-round of creative directors. I’m very interested to see the new collections coming up.

What debuts are you most excited about and why?

Farrier: I’m genuinely excited about the new hiring of Matthieu Blazy at Chanel, and what universe he will create.

Marshall: Demna for Gucci. What will it look like? I can’t wait to see what he does.

When you are drawing the collections, how do you choose what to draw?

Farrier: I gravitate towards a strong silhouette and something that would suit my love of painting with ink. It’s usually a look of something strong yet simple. Occasionally I feel inspired to paint a close-up portrait of the model too.

Marshall: When I look at a collection, I am usually drawn to a strong silhouette and color. I draw fast, so if I can’t get a drawing to work, I move on quickly to another look until I am happy.

Can you elaborate on one or two of the looks you like best and drew?

Farrier: I really loved drawing Balenciaga’s tailored silhouettes. The shoulders were pretty sharp and exaggerated. I drew look 4 a few times only to realize the skirt didn’t have a back, so I ended up drawing it a third time!

Marshall: I loved the sequin pink roses look at Balenciaga (look 10). I felt the drawing came together effortlessly. This is the most desired outcome for me.

What was your take on the season?

Farrier: For me the highlight was watching the Balenciaga show on multiple platforms live, like the way we all consume shows. I absolutely loved the casting, shapes, the pace, as well as listening to live soundtracks.

Marshall: I loved Balenciaga. So chic. Perfection for me. Would have LOVED to have been there in person. I would have loved to have seen Margiela IRL too. So many exquisite details and hours and hours of hard work make Couture COUTURE.

What can a drawing do that other media cannot?

Farrier: I like that a drawing gives more of a personal interpretation of the show, compared to a photo.

Marshall: For me, a drawing is a fleeting moment in time—a gesture that happens really quickly and only through my hands. Similar to taking a photo.