From Fashion Icon to Fine Artist: Luella Bartley's New Direction

Fashion designer turned artist Luella Bartley is showcasing a significant evolution in her creative practice with a new series of paintings. This collection delves into the profound connection between the garments we choose and our core identity. Bartley, observed in her London studio wearing a simple, perfectly weighted navy jumper, discussed this shift with the interviewer.

The new body of work is titled “Dressing for Pleasure” and is currently on view at the Kristin Hjellegjerde gallery in London. The paintings feature friends and family captured in their most cherished, well-worn attire. This focus marks a departure from her earlier artistic explorations, which concentrated on nudes and the complexities of the female experience.

The Playfulness of Observation

Bartley admits that shifting focus to others has been a refreshing change. She noted, “I have stripped myself bare of that kind of expression,” finding it playful to observe others. For her, clothing remains fundamental, even in its simplicity.

She elaborated on this concept, stating, “For me, clothing is a pair of jeans and a jumper, but that is still saying something.” Bartley suggests that even an attempt to avoid making a statement through dress results in a significant declaration, often acting as a “blank canvas.”

A Storied Career in Fashion

Before transitioning fully to fine art, Bartley enjoyed a highly influential career in the fashion industry. She began as a fashion journalist before attending Central Saint Martins and launching her eponymous label, Luella, in 1999.

Her designs, known for their prim, preppy aesthetic infused with punkish elements, defined a generation of British 'It girls' in the early 2000s. Celebrities like Sienna Miller and Alexa Chung were frequently seen wearing her creations, including a polka dot mini skirt or a 1950s-style dress with a heart cutout.

  • Bartley co-designed the successful Mulberry 'Gisele' bag in 2002.
  • She later collaborated with Target.
  • She served as the design director for Marc by Marc Jacobs.
  • She cofounded the label Hillier Bartley with Laura Hillier.

The Catalyst for Change: Grief and Movement

Bartley’s journey into painting began under deeply personal circumstances following the loss of her son, Kip, to cancer in 2021 at age 18. “I was obviously in a lot of emotional pain when I started painting,” Bartley explained, noting she had to “tear everything down and really go inwards.”

In 2024, her focus began to shift away from nudes after working with choreographer Wayne McGregor of the Royal Ballet in London. Bartley drew and photographed dancers, observing how their bodies interacted with their costumes during movement. This visceral experience sparked her interest in painting clothed subjects.

She described the intensity of rehearsals, noting, “After eight hours of rehearsal, their socks were filthy. I saw the way their T-shirts stuck to their sweat; it was very visceral.” Bartley concluded that even this new work remains centered on “what the body is doing underneath the clothing and what that’s trying to communicate.”

Distinguishing Art from Industry

Bartley is adamant that these paintings are not commentaries on fashion, brands, trends, or her industry legacy. Instead, they focus on the “purity of getting dressed” and the instinctive ways people express themselves through attire.

She reflected on her past work, stating, “I’ve spent 30 years dealing with the idea of what clothes mean.” She noted that her previous design work was heavily narrative-driven, and bringing that focus back into her persona has been an interesting progression for the paintings.

Embracing Creative Freedom

Previously, Bartley was careful to keep her fashion design and fine art practices separate. Now, she feels more liberated, understanding that creativity is not confined to a single path. She believes all her paintings, regardless of subject, address a fundamental “need for communication.”

Bartley finds joy in the details, such as capturing her son Ned wearing his “dirty, shabby white socks” with an otherwise nice outfit. She acknowledges that few painters consider pairing a tweed suit with red Vans, emphasizing that the work is about “personal style.”

She contrasted her current work with the pressures of the industry: “Fashion can often wear you. It can be a mask or about status, but these paintings aren’t about that.” Bartley prefers capturing the essence of a friend who consistently wears the same old suit, even asking him to keep his worn Vans on for the portrait.

A Confident Return to Artistic Roots

While Bartley has quietly begun exploring fashion again, she is embracing the intersection of her creative paths. She admitted that she “sort of fell into fashion,” believing she always intended to pursue fine art but lacked the confidence earlier in her career.

Now, approaching this intimidating field at her current age, she finds it much easier. Bartley concluded with newfound assurance: “Being a little bit older, being able to look a bit differently at the world, and have a little more confidence,” she stated, “I don’t really give a fuck what people think; I need to do this.”