Illustrate to Curate

from Ohlala Bahrain May 2018

The 2018 Porsche Cayman 718 GTS

Jayne Green talks to the ever-so-charming Marc-Antoine who is now considered as one of the world’s leading fashion artists. With his glamorous, elegant, out-of-time, sometimes quite cheeky style he displays a great sense of aesthetics and observation, capturing the instant, with an artistic overview.

Tell us about yourself. What makes you tick?

I am a french artist with italian origins. I’ve always known that I wanted to be an artist. Drawing has always been essential to me as well as one needs oxygen to breathe. As a child I was frustrated - I couldn’t find the images I was dreaming of, in the real world. I’ve always had a lot of images inside of me. Making these images real has been the biggest thrill in my life. I am interested in people - their lives, their stories, their weaknesses, their strength. I love to meet people and listen to them, exchange ideas with them.

Can you briefly explain your creative process, mediums, etc?

It’s always a challenge - while I paint, I have to feel love. My subject has to be the most important person in the world to me. I first draw too many lines on the paper with a pencil, and then I delete most of them. I like it when it looks simple. I use ink. Ink is a dangerous medium - it does not allow a second chance. I like that idea. The most important thing to me is to show how it feels to actually meet the person I’ve portrayed. When you meet people you don’t necessarily pay attention to every detail -skin, spots, wrinkles... When the person is gone you remember the style, the perfume, the personality. That’s exactly what I try to render on paper.

Has the French perspective on work influenced you?

I feel french, thus my work must look french, I guess. But I also feel italian - it’s an important part of my culture. I hope my work shows both influences. I love unfinished works - they are full of promises. It has to be light and human. I am not interested in perfect technique. I like messy elegance. I can be baroque or simple. People daily undergo various moods.

Give us a brief history of who you have worked with up to the current date.

I have worked with Ines de la Fressange, Marpessa Hennink, Jean Paul Gaultier, Dior, Cartier, Van Cleef & Arpels, Lancôme, Givenchy, John Nollet... I did the french Vogue Colouring Book. I regularly work with the French Vogue. I work each week for the Madame Figaro, each month for Town & Country, Transfuge...

What are your plans for the future? Tell us about any exciting news in the pipeline

It’s always complicated to reveal what’s in the pipeline. I’ve just done 14 images for the Dior Museum in Granville, I am preparing a couple of very exciting surprises. I like to go where I am not expected to be. That’s where you’ll find me soon...

Who has been an inspiration to you and who would you most like to collaborate with and why?

I fell in love with René Gruau’s work when I was 4. I also learned a lot from the work of Thoulouse Lautrec, Saul Bas, Degas, Ingres, Klimt... I think you get influenced everyday in various ways. As for the future, there are so many people I would love to work with ! I love challenges. I love to explore new territories. But I do think it’s important to have unaccomplished fantasies. It’s important to have dreams yet to be realised.

You’re now considered as one of the world’s leading fashion artists. How does one react to such a title?

Although I am quite flattered when you tell me so, I would never think of myself in those terms ! It’s really hard to theorise upon my own work. I am working so hard all the time that I actually do not realise what is going on around me. I never look back. I want what’s next. It’s a peculiar balance between fear and desire.

Fashion Week is a really inspiring environment, but, that timeframe is limited. Where do you find your inspiration for the rest of the year?

Everywhere ! Ideas are everywhere - in a novel, in a song, in the shadow of the tree in front of your house, in magazines, in the streets... As for fashion weeks, they are very special - you have to be everywhere at the same time in Paris to attend the shows, and when it’s over you have something like three days to create around 50 images. You have to think quick. It’s kind of my olympic games. In between fashion weeks, you can take your time, you can try things. And there are so many things to be tried.

So, if a designer has spent a lot of time on a creation, does it take you a lot of time to sketch it, as well?

Often the most simple images are the toughest to build. As long as the viewers think it’s easy and quick, that’s fine with me. Sometimes the magic happens - your hand obeys your mind, everything is fluid and easy. Sometimes you have to fight very hard until it almost drives you crazy. And you perfectly know it when it does not work like you intend it to. It can be really painful. It teaches you patience, the hard way.

What does an average day look like for you?

There is not a single day that I have not been frightened to death of what I am expected to accomplish. After a bit of physical exercise, most of the time I am alone at my desk, working or doing research for the next image. I usually put on some music to stimulate me. There are also lots of appointments of all kind during the day. Often I also work at night for fashion events. It requires a lot of concentration from me beforehand. Late at night I answer my messages and e-mails.

Your portrait work illustrations are host to a whole accolade of A-list fashion houses and people. Do the people you sketch have to fit select criteria or can someone like ‘me’ be sketched?

I’ve always done portraits, everywhere, even on vacation - that’s my way of bonding, that’s my language. So of course I draw all sorts of people all the time. I don’t think in terms of A-list. Anyone is welcome in my world.

Tell us an interesting fact about yourself.

At night I wear a black outfit and a black mask and I fight crime on the roofs of Paris, under the name of Batman... But shhhh! It’s a secret.