For as long as she can remember, Hatty Pedder wanted to be an artist. And for the past 22 years, the Dubai-based British-born illustrator and photographer has been realising her creative dreams with an impressive back catalogue of VIP clients Cartier and Lanvin, and Maserati. Pedder’s recent collaboration with Emirates airline – a range of merchandise featuring quirky, bright illustrations – is already a hit in the region. Pedder paints a picture of how it all came about.
What drew you to art?
When I was three months old, my parents moved our family to Bahrain, and the rest of my childhood was spent moving around the Middle East. I feel so lucky to have been exposed to so many different cultures and lifestyles from a very young age, and this has had a huge impact on my creative style and inspirations. My family was a creative one – my mother was a smocking expert and children’s dress designer and my father and grandfather were amateur artists. After graduating from Central Saint Martins in London in graphic design, I began illustrating for various publications, including Tatler. Shortly after this, I had my first child and then moved with my [now late] husband to Dubai. I’ve been here more than 20 years now and have seen a dramatic growth in the art and illustration scene. When we arrived, illustration opportunities were scarce and I moved organically into fashion styling and photography. About nine years ago, the market for illustration and art in Dubai matured and I immediately returned to my roots as an artist and illustrator. I love it here and I can’t imagine living anywhere else.
You’ve created homeware, apparel and accessories for Emirates airline’s Icon Collection. How did the commission come about?
I was initially contacted by Emirates to collaborate with them to create a fresh, cool series of illustrations with a contemporary fashion feel that would reflect the airline. It also had to appeal to the crew and passengers. My work is always figurative and based on people in some way. I love brainstorming and going on a journey with my clients to create something unique and original.
How did you settle on the final designs?
At our first meeting, I took the initial brief and was given a lot of stock images for reference. At the next meeting, I came back with my research and concepts. It was one of those lovely experiences where we were all on the same page and instantly chose the same direction. As I was illustrating, I sent them images for approval, first in pencil, and then I added the ink colour and touches.
What are your favourite pieces from the range, and why?
The magnets. I just love the weight of them and how tactile they are. My daughter, Indigo, loves the handbags and now proudly owns both designs. The ceramic mug is also very cool and feels high-quality.
Comparisons of your black line illustrations with Aubrey Beardsley’s are inevitable. How great an influence was he upon your work?
He had a huge impact on me when I was at school. He was influenced by Japanese art in the way that he didn’t use tone and had large areas of flat colour. I was instantly fascinated by his exquisite black linear work. However, my subject matters are very different and my palette can be extremely vibrant and electric.
If money were no object, what artwork would you most like to own?
The Kiss by Gustav Klimt, in a heartbeat. This piece of art is just so exquisitely beautiful and jewel-like. It feels so luxurious and decadent, that even as a child, I was drawn to it because I loved the use of gold and the romantic feel of it.
