Mother+ Meets… Phoebe Rutherford, food and restaurant illustrator
Tell us a little about what you do and what led you here.
I’m a food and restaurant illustrator living in South East London with my husband, Alex, and our 15-month-old daughter, Iris. My illustration journey actually began during lockdown. We were living with my 93-year-old grandma and shielding her, which meant I couldn’t access my studio and felt creatively stuck.
Alex set me a challenge to draw my “dream meal”, and the sketches I shared — St John, Lina Stores, Adam’s Café — really struck a chord. People began sending me their own stories and favourite places, and from there my work grew into commissions for restaurants, pubs and bars. I now illustrate for hospitality clients and create bespoke wedding and event stationery too. Working on recent projects for M&S was a particularly special moment.
Between motherhood, your NHS role and your creative work, what does your week look like in reality?
I have two days dedicated to drawing and admin, one day running art workshops on the wards at St Mary’s with Imperial Health Charity, and the rest is squeezed into nap times, evenings and any quiet moments I can find.
When Iris first started at the childminder, I felt far more emotional than she did, so I began Couch to 5K to help reset my head. I’m still yet to complete the “nine-week” programme, but running a couple of mornings a week has become a little ritual.
Most of my work happens at the kitchen table for the light and space. It’s chaotic, but I love it — there’s so much problem-solving in illustration, and when I’m in the flow, time disappears.
What’s been your proudest moment so far — and your biggest “what now?” moment?
Seeing my drawings listed in the Observer Food Monthly Top 50 Food Moments in 2022 was incredible. I’ve read that magazine for years, so opening it and finding my work inside was surreal. My phone kept pinging with orders all day.
It felt like the perfect match of timing and sentiment — people really missed restaurants during the pandemic, and the drawings seemed to capture that nostalgia.
How has motherhood shaped how you work or how you define success?
In every way. On a practical level, sleep is unpredictable and I can’t rely on late nights anymore. My time is now built around Iris, which means being more disciplined and learning what to say no to.
Motherhood has also recalibrated my idea of success. It’s less about constant output and more about doing work that feels meaningful and sustainable. I’m getting better at quoting properly for my time and trusting a slower pace.
What do you wish people understood about building something from scratch?
How hard stopping can feel. I was terrified about losing momentum after Iris was born. I thought I’d return quickly, but everything naturally slows — and that isn’t failure. Building something sustainable takes time, and planning ahead doesn’t always come naturally to me, but I’m learning.
Where do you find your energy and what drains it?
The moment a drawing clicks into place still gives me such a buzz. Starting a new piece always feels like a risk, so when it works, it’s energising. I’m really proud of my Christmas cards this year; they were a joy to make.
Stress is the thing that drains me most — that feeling of having too much to do without the space to actually do it. I’m trying to accept a bit of chaos while putting better systems in place.
Eating out always refuels me creatively. We finally made it to Sargasso recently, and it reminded me why I love drawing restaurants — the atmosphere, the sense of being looked after, the tiny details that stay with you.
What’s one decision that changed everything?
Going fully freelance. When Iris started with her childminder in May, I decided to make the jump — and then had my busiest summer yet. A project with InterContinental Hotels in particular felt like the kind of work I’d always hoped to do. It was a real turning point.
You’ve illustrated for some of London’s most loved restaurants and brands — what have been the most exciting or surprising collaborations?
Working with Poons has been a real highlight. Amy Poon discovered my work and asked me to draw her parents’ original restaurants from archive photos. That led to illustrating their sauces for Selfridges’ Christmas hampers.
Then came the menu illustration for their new Somerset House restaurant, working alongside designer Julian Roberts. Taking Alex and Iris to the soft launch and ordering from a menu I’d drawn was an unforgettable moment.
The food world on Instagram is also incredibly supportive — I’ve made genuine friendships there, which makes sharing my work feel much less daunting.
What does balance mean to you right now?
It’s constantly shifting. I’m trying to be present with Iris and with friends, and to stop mentally writing to-do lists when I’m meant to be resting. I’m realising that proper rest isn’t indulgent — it’s part of keeping the creativity going.
What’s one thing you’d tell other creative women building a meaningful life and career in London today?
Reach out to people you admire. Most creatives are far more generous than you expect. I recently had coffee with Emma Cantlay (@MainlyBreakfast), and her advice and encouragement meant so much.
Talking about the fears and the overwhelm helps hugely too — sharing it shrinks it. And I’m hoping to find a studio desk in South East London next year, so if anyone knows of a spot, please let me know.
For more information visit www.phoebe-rutherford.com | @phoeberutherfordart
Quick Fire Round
Current bedside book
Fresh Water for Flowers by Valérie Perrin — so good I keep staying up too late listening.
Go-to podcast or playlist
Round Midnight on BBC Radio 3 — the intro alone makes me relax.
Favourite place to eat with Iris — and without
St John, always. I think Iris would be quite content in the bar.
A mantra you return to
“If you keep doing what you do, you’ll keep getting what you get.” It loops through my mind whenever I feel myself slipping into old habits.