London has one of the strongest tattoo scenes in the world. Old school, traditional, neo-traditional, the craft runs deep there, and rightly so. It's a city that understands the history of tattooing, that respects lineage and technique.

But Art Nouveau is rare. Art Deco even rarer. Not because the demand isn't there, London is one of the most Art Nouveau-literate cities in Europe. The Tate, Liberty, the architectural details you find walking through Notting Hill or Mayfair.

The visual language is everywhere. The tattooing, less so.

That's the conversation I'm interested in having.

What Art Nouveau tattooing actually means

Art Nouveau isn't a style you apply to a design. It's a way of thinking about composition, about how an image relates to the body it sits on, how ornament follows line, how a figure breathes rather than poses.

Mucha understood this. Bisson understood this. The compositions they created weren't meant for walls. They were meant to be worn. That's what makes their universe so naturally suited to tattooing, and so rarely done well.

When I work on an Art Nouveau project, the starting point is always the body. The compositional logic of Art Nouveau means building the image for the person who will carry it, not independently of them.

Black and grey or colour — two distinct approaches

Art Nouveau in black and grey draws from the engraving tradition, Bisson's lithographs, the depth of shadow and nuance, the delicacy of a face rendered like an antique print. It reads like a piece of jewellery worn on the skin. Art Deco follows the same logic but with a different tension, geometry, contrast, the kind of presence you find in a Tamara de Lempicka tattoo.

Art Nouveau in colour is something else entirely, closer to painting than to engraving. Soft palettes, warm tones, the kind of depth that takes multiple sessions to build. On fair skin, it vibrates. It's the approach I took on Thomas's full arm Mucha project, sessions spread over months, colour building gradually, the arm revealing itself piece by piece.

Large scale projects — full back, full arm

Art Nouveau works best at scale. A small design can carry the aesthetic, but a full back or a full arm is where the logic of the style really comes into its own, where the composition can breathe, follow the body's contours, and exist as a complete work rather than a detail.

These are the projects I'm most interested in. They take time, multiple sessions, and a certain commitment from both sides. But the result is something that couldn't exist any other way.

Based in Avignon, available for London

I work at Graphicaderme studio in Avignon. I travel regularly and I'm available for projects in London. If you're based there and interested in an Art Nouveau or Art Deco project, full back, full arm, or something else entirely, feel free to get in touch. We'll figure out the logistics together.