Maggie Cowles is a freelance artist and illustrator originally from Brooklyn, New York. She received her BFA in Textiles from the Rhode Island School of Design. Her work has been featured in such publications as Bon Appétit, British Vogue, Politico EU, and in special collaboration with Harry Styles.

What was the moment you realized illustration was your true calling?

I didn’t have a single "aha" moment. I’ve always loved illustration, but I went to school for textiles and spent over a decade working in fashion. As time went on, I found myself growing weary of it. I’d been dabbling in ceramics on the side, sharing my work on social media, but when COVID hit, that option was off the table. So, while working from home, I shifted gears, leaned into illustration, and started sharing it online—and the rest is history!

We know you draw a lot of inspiration from food and memories. Can you share one specific food-related memory that has really influenced your work?

Oh man, I come from a family that lives for all things cuisine. So it’s hard to pick just one…

I often find myself reminiscing about dinners out at New York Noodletown in Chinatown; we could walk over from our apartment. I got my first chopsticks lesson from the owner himself! Afterward, we’d stroll over to Mott Street, lured by promises of a dancing chicken at this arcade Chinatown Fair. I’d picture a feathered little bird dancer every time, only to be mildly disappointed when the poultry failed to perform. But my parents every time promised we had only just missed the routine- “Don’t worry,” they’d say, “next time, that chicken’s really gonna boogie!”

“Brighton Beach Memoirs” 8.3” x 11.7” (A4) Colored pencil on paper.

How do you go about choosing the colors for your illustrations? Do you have a favorite color combination that you find yourself using often?

Sometimes, I wish I were more methodical with my palette choices. I’ve done series where I tried to limit my colors—Pierre Boncompain is a master of this, and I really admire his work. But I’ve embraced the fact that it’s just not my way. I spent over a decade as a print pattern designer in fashion, so there’s definitely a trained color sensibility within me. But mostly, I approach each piece organically, adding color as I see fit.

You've worked on such a variety of creative projects, from fashion to collaborations with artists like Harry Styles. What’s been the most surprising or unexpected part of your creative

journey so far?

Harry Styles definitely takes the cake—mostly because the whole thing was wrapped in so much secrecy, it felt like working on a top-secret mission. But honestly, the biggest plot twist while on this creative path is probably the shift to illustration itself.

What’s the most enjoyable part of creating a new illustration? Is it the initial sketch, adding color, or seeing the final result?

The most enjoyable part is probably when I pull the tape off the edges and scan the piece. It’s like the final product reveals itself in that moment, making me think, "Oh! Okay, that worked out!" But it’s definitely a high-risk, high-reward situation—there have been times when I’ve removed the tape, scanned it, and thought, "Okay, that’s not at all what I wanted it to be."

(Left) “Last Night I Dreamt I had Forgotten my Name” 30” x 22” Colored pencil & oil pastel on paper.

(Right) “Dark moon, tell me why you've lost your splendor?” 11.7” x 16.5” (A3) Colored pencil & oil pastel on paper.

Is there a particular piece of your work that you're especially proud of or that holds a special meaning for you?

So many—I get a little sentimental about my work.So many—I get a little sentimental about my work.

If I had to pick a favorite, it’d be "A Summer in Manhattan, 1996." At that time, I was still refining my approach, but one day, I sat down and decided to draw a table scattered with whatever was trapped in my head. At that moment, it was nostalgia for NYC—Mets tickets, lox, Zabar’s treats. It was a more personal exploration of my memories, and its impact was unexpected. The piece and subsequent prints quickly sold out and opened the door to more work inspired by my personal connections to the city. It was a reminder that sometimes, the more intimate creations can resonate profoundly with others.

(Left) “A Summer in Manhattan, 1996 6x8” (15.2 x 20.3 cm) Colored pencil / oil pastel

.(Right) Masu ya sake, kyoto 5.83 x 8.27” (A5) Colored pencil on paper.

Do you have a favorite spot in your home where you like to do your drawing? Any photos you’d like to share?

Oh, I have a whole studio in my house! I love it!

Maggie’s studio

When you're working on a piece, is there something you always have to have with you? Maybe a lucky charm or a favorite coffee mug?

No talismans or charms —just a steady stream of iced coffee and ice-cold water, always at arm's reach. Probably my phone too—I need some sort of audio medium to concentrate. *Pod Save America*, *Keep It*, *Who Weekly*, *How Did This Get Made*—all on repeat.

Let’s wrap-up with a fun twist. Complete the sentences with the first thing that comes to mind!

- The one thing I can’t work without is… Water.

- The music I listen to while working is usually… Rosalia, Stromae, Kendrick Lamar, Jay-Z.... or podcasts.

- I’m happiest when I’m… Swimming in the ocean.