Clym Evernden is a London-based artist and illustrator and commercial artist renowned for his distinctive linear renderings of urban life—ink-based impressions depicting whimsical vignettes of city scenes in a style that has become among the most recognisable in contemporary luxury advertising. From brand campaigns to illustrations for fashion, Evernden has developed a visual language that is instantly identifiable. If his name is unfamiliar, his work almost certainly is not. At a pace of creation that seems almost unfathomable, Evernden’s cityscapes invite viewers into the cinematic lens through which he observes and renders urban life.
Evernden’s client list includes houses such as Acqua di Parma, Rolls-Royce and Hermès, to name a few. Through bespoke brand illustrations for leading luxury labels, alongside a widely followed digital presence at @clymdraws—where he frequently transforms his drawings into animated short video sequences—he has established himself as a true tour de force, becoming one of the defining figures shaping the visual landscape of modern luxury advertising.
hube: Your drawings don’t just depict scenes—they conjure entire atmospheres. Whether it’s a crowded street, a moonlit sky, or an elegant soirée, there’s a palpable sense of movement and mischief. Do your images begin as inner emotional landscapes, or are they sparked by lived encounters and observations?
Clym Evernden: I think my artwork comes from a combination of both observation throughout my life, but also a very active imagination. Hopefully it’s a successful synergy between the two. I think I’ve always been very observant. Ever since I was a child, I was always looking about and noticing things. I was very interested in nature, so that helped me grow that muscle. At the same time, I think my imagination and ability for storytelling have always been something that I both enjoy and are very active in the way that I portray artwork.
h: There’s often the sentiment that one lives in their head or in the present, but there’s often a struggle to connect the two. Can you share a bit more about how you experience the relationship between them?
CE: I think for me they’re connected. I draw on lived experiences, but I can build on those in my brain to create a more imaginative narrative. So for example, with my artwork, often there are cinematic environments and, having grown up in the countryside in the UK, I’m pulling from the atmosphere of the landscape at dusk or something that I’m then embellishing. I’m lucky enough to be able to see a whole different scene, which is not necessarily something I’ve witnessed, but I’m drawing from those life experiences.
