Adorning the body: Tattooing as adornment

Hello everyone!

After imagining a first black-and-grey dress inspired by Édouard Bisson’s universe, I wanted to explore the exact opposite direction: keep that very Belle Époque sweetness, but this time with color, much more light and something almost pictorial.

This project therefore started from an original illustration, designed to follow the body rather than exist as an independent image. I really wanted people to have this impression of a piece of adornment, something that complements the curves and that only fully functions when worn.

Why Édouard Bisson inspires me so much

What I like about Bisson is especially his very soft female figures, the light, the draping, and the way he makes a very present image without it becoming harsh. There are many details, but the overall effect remains light.

For this project, I didn’t want to recreate an existing work. Instead, I kept the original feeling to create a composition that could be worn on one side and slightly change depending on the person’s morphology.

The composition must adapt to the body

A full-length figure cannot really exist in a single size. The width of the shoulders, the shoulders, the spine, the waist and the way the person stands change enormously the reading of the drawing.

Therefore, I prefer to think of this type of project as a base that can be truly adapted to the body. The overall structure remains the same, but the proportions, some movements, and the spaces must be able to evolve so that the result looks natural.

In fact, that’s the whole logic I explain in my article on my way of creating a Art Nouveau tattoo.

Color completely changes the intention

I had envisioned the first Bisson project in black and gray, almost like a gravure or an antique jewel. Here, I wanted something much closer to painting: soft colors, light, and a palette that remains subtle enough to not overwhelm the drawing.

The color rendering obviously varies depending on the skin. That’s exactly why I never think of a palette completely independently of the person who will wear it. The same shade won’t have exactly the same presence depending on the complexion, the area, and how the skin heals.

If this topic interests you, I have also written more broadly about the place that color has taken in my work.

A great project inevitably takes time to build.

On a surface like a back, several sessions are required. Not only because there is a lot of skin to tattoo, but also because the different areas need to heal and there needs to be consistency between each session.

I love the slow pace on big projects. We start with a fairly broad vision and, as the meetings progress, the piece becomes increasingly precise. The person also gradually gets used to seeing their body change.

Two close-knit projects, but two completely different sensations

What I find most interesting about these two projects inspired by Bisson is that they ultimately draw on the same references but tell a very different story. Black and grey is much more graphic and almost precious; the color version is softer, brighter, and more pictorial.

You can see the other direction in my article on The complete back in black and grey designed as a jewel.