The natural tendency of the bow is to have stronger sound near the frog and more controllable and generally softer sound at the tip. A good violinist will of course compensate. Nevertheless, as a rule of thumb one prefers a downbow on a note with downbeat character and an upbow on phrases with upbeat (anacrusis) character.
So if you wanted to give an impression of the bowing directions, you'd likely be a bit more "plosive", breaking into the tone with more lip pressure (sorry, just guessing as I am not a woodwind player myself) for downbow instructions, and be more like mellowing into the tone (and then getting stronger, maybe imagine sucking rather than blowing air, a bit of a singer's imagery obviously not making physical sense) for upbow.
This only makes sense for bowing instructions obviously intended for acoustic effect rather than general bowing management.
It's best to check with the Urtext for bowing instructions written by the original composer rather than whatever the editor considered "helpful" in order to figure out the difference between intended effect and execution suggestion.