Meeting with Marin Montagut, illustrator and creator of beautiful Parisian souvenirs

Marin Montagut

Illustrator and designer

Interview with Marin Montagut, illustrator and creator of beautiful Parisian souvenirs

By Katia Kulawick-Assante

-You grew up in a family of antique dealers. Did that influence your aesthetic sensibility?

Yes, I grew up in a creative world with a grandmother who was a painter, grandparents and a father who were antique dealers, and a mother who ran a second-hand shop. My grandmother didn’t have much money, but she had an incredible talent for turning very little into theatrical sets, using fabrics and second-hand furniture that she repainted. I grew up surrounded by antique objects. Thanks to them, this idea of telling stories through objects has always stayed with me…

-At what age did you arrive in Paris?

At 18, I went to Saint Martin’s School of Art in London to learn English and discover a different approach to teaching. Moving from the countryside to a foreign capital was a real challenge as I barely spoke the language. That preparatory school allowed me to explore photography, fashion and drawing, to flourish and, above all, to understand that there isn’t just one way to create. It opened my mind. Then, at 19, I chose Paris. It was love at first sight. I immediately thought to myself: this is my city, this is where I’m going to settle down.

-How did you find your path?

I never liked school. As a child, when people asked me what I wanted to do, I’d reply: ‘work in the arts’. I found the idea of choosing a single career for a lifetime difficult. So, I invented my own… And I continue to reinvent it constantly. At 20, I worked as an assistant set designer on period films. Then I moved into video production. Very early on, I created and published my illustrated guides ‘Bonjour Paris’, ‘Bonjour London’, ‘Bonjour New York’ – with the tagline ‘no longer be a tourist in these cities’. I love maps even though I’m not very good at reading them; I’m a bit hopeless at finding my way around. But without realising it, I’d set up my own publishing house. When Flammarion contacted me to buy the concept, they asked me for the name of the publishing house… I didn’t have one; I was doing everything myself, in my 25m² studio, with boxes of books stored under the bed. I never set out to create a brand. Things just happened naturally. At each stage, I simply invented a new profession.

Today, you’ve become a Parisian creative signature: you produce tableware, souvenirs, stationery, home décor, textiles, perfume, books…

It’s a tremendous honour. I’m very proud to know that my creations travel the world and accompany happy memories of Paris. I arrived at 19, I didn’t know a soul. Paris welcomed me with open arms. It’s my city. Here, everything inspires me; I look up and… it’s extraordinary. I think the less of a Parisian you are, the more you admire this city. Until I was 18, I only ever saw Paris in magazines. I remember my mother telling me, ‘You can only find that in Paris!’ As if it were something untouchable, something you observe from afar. That made me want to pay tribute to it. I like to subvert clichés and make them desirable, even for Parisians. It might be a bit selfish, but I don’t design an object just because it’s fashionable. I create first and foremost for myself. For example, all drawing pads look the same: I wanted one that was different, so I made it.

What fuels your creativity on a daily basis?

After launching my ‘Bonjour Paris’ cards, brands got in touch with me. I started doing collaborations, illustrated objects… Seeing my drawings come to life on a glass, a mug, a scarf or a cushion gives me immense joy, a bit like a child on Christmas morning. Creating nourishes me every day. I love the inventive side of things. I realised that all my careers had a common thread: telling stories. When I launch a perfume (“L’Eau Douce”), a collection of plates or a book, I build a narrative around it. Instagram plays a vital role in my projects: I manage everything myself, from video editing to posting. What I’ve learnt from my previous experiences serves me well today, whether it’s editing, directing or publishing… In a world where people tend to be pigeonholed and where you’re expected to do just one job, I’ve flourished by remaining independent and exploring different disciplines.

How do you start a collection or a new creation?

I always start by sketching at home, using watercolours. I then scan my sketches and we discuss the project with the teams: depending on feasibility, it will be produced in-house – which I try to do as much as possible in our small workshop – or I’ll go out to meet artisans for a collaboration. Recently, I created a box of coloured pencils in Portugal, at one of the last factories in Europe that still makes them the old-fashioned way. I went to visit it; it was like stepping back in time: nothing has changed since the 1930s. It’s fascinating.

Do you collaborate with Parisian artisans as well?

Yes, a lot. In particular, I work with marbled paper made by a craftswoman who produces it just as they did in the 18^th century, in vats, in the 10^th arrondissement. Every sheet has a unique marbling pattern. You can see it on my lampshades, handmade by another craftswoman, also in Paris.

Are all these addresses compiled in your latest beautiful book, ‘Mon Paris de toujours’ (Flammarion)?

Yes. Together with my editor Kate Mascaro, we’ve gathered addresses in Paris that have been around for at least thirty years – and in some cases for several centuries. With over 475 addresses, this book is a declaration of love for a secret Paris: the Paris of ancient craftsmanship, hidden workshops, forgotten passageways and places that stand the test of time.

Do you still go hunting for bargains?

It’s my greatest passion. I hunt for bargains in Normandy, where I have a house; at my mother’s, who has a shop in Honfleur; at the Saint-Ouen flea market; or whilst travelling. I share my favourite spots in Paris in “Mon Paris de toujours”. Some of my finds are on display in my shop on Rue Madame, in a window dedicated to Parisian memorabilia from 1900 to 1970: these include souvenirs from the World’s Fairs, crafted from fine materials, made in France and still in excellent condition. Recently, I found a cigarette holder shaped like the Eiffel Tower – but I’m keeping that one… I’d never seen one like it before.

You’ve co-authored a book, “Sous les toits de Paris” (Flammarion) with Inès de la Fressange…

Inès is a great friend; I met her when I was 22, whilst working for an interior designer at the Saint-Ouen flea market. She is a person of great generosity. She supports young people, giving opportunities to those just starting out, even without an impressive CV… That’s rare and precious.

What drives you day to day?

Bringing my ideas to life. I need that constant momentum, to wake up in the morning with new projects. I’m not the sort to linger once a project is finished; I move quickly on to the next one. The enthusiasm and hard work I put in are enough to satisfy me. I love exploring, experimenting…

What’s a typical day like for you?

I reply to my emails and then head to the workshop to check on ongoing projects. Our workshop in the 20th arrondissement now has a dozen people, including the design team. My sister, Aude, works with me as the brand’s associate director. I’m very close to my teams. It’s important to me, both in the shop and in the workshop, to see them thriving. Team spirit is essential. After that, I have a quick lunch, go for a climb – a sport I really love – then pop over to the shop to bring in new items or antiques I’ve hunted down. I can spend a whole day sketching at home, especially when it’s raining. I love staying in when it rains. I live in the 11th arrondissement, my studio is in the 20th, and my shop is in Saint-Germain-des-Prés, so I spend a lot of time criss-crossing Paris on my scooter.

Your next project?

An exclusive collection with the Jardin du Luxembourg and a pop-up in Seoul, South Korea.

Marin Montagut Shop

48, rue Madame, Paris 6^e

www.marinmontagut.com