The cover of García de Pou’s new 2026 Catalogue was created by the French illustrator Virginie Morgand. Her style is instantly recognisable: scenes full of movement, characters crossing paths and interacting with one another, and a luminous atmosphere that evokes the Mediterranean — all with a subtle retro touch. In this interview, she tells us about her beginnings, her creative process and the inspiration behind this cover.
To begin with, how would you define yourself professionally? And how would you describe your work?
My work is mainly centred around movement, dance and music. I work for cultural institutions, museums, theatres and festivals, as well as for brands and the press. The visuals that most clearly identify my work are those related to the theme of swimming pools, featuring swimmers, divers and synchronised swimming dancers. My graphic style has a slight retro feel; I use colour shifts and transparencies that give the image a subtle sense of vibration.
When did your interest in drawing begin, and what led you to pursue illustration as a vocation and a profession?
As a child, I drew a lot—on my own, with my family and with my friends as well. At first, I was drawn to graphic design and fashion, but I soon realised that what I most enjoyed drawing were characters. I therefore studied applied arts in the field of animation. Working on movement was extremely formative. I worked in a few studios in Paris, first as a background artist and later on storyboards. At the same time, I practised screen printing, which allowed me to experiment with colour and the simplification of forms. I then wanted to further develop my own style within illustration.
When facing a blank page, how do you begin? What creative strategies help you initiate your process?
I always start by making sketches on paper, using felt-tip pens, coloured pencils and sometimes collage as well. I first draw small scenes with characters or groups of characters on loose sheets of paper or in sketchbooks. I then select the postures and attitudes that feel the most spontaneous, cut them out, tape them together, and continue developing my ideas around a composition.
Which tools do you use most frequently? Do you feel more comfortable with traditional techniques or digital ones?
I have got into the habit of working on a graphic tablet for the final artwork. I scan my sketches and redraw them at the correct scale. This also allows me to adjust colours or make changes more quickly for commissioned projects. I also enjoy taking the time to experiment with other tools, but mainly on personal projects.
Your large group scenes have become something of a personal signature. What attracts you to depicting crowds? How did the idea of portraying such collective compositions emerge?
I really enjoy drawing the people around me—at the beach, in a train station, in a park… I like drawing characters in motion. Public spaces are very inspiring. They bring together people who do not necessarily know one another, yet who still find themselves grouped together, such as at a swimming pool, in a café or at a market. These are places of passage and encounter. I try to convey that energy in my illustrations.
Regarding the cover of our catalogue, what inspired you? What message or feeling would you like viewers to experience when looking at it?
For this cover, García de Pou asked me to draw something that would evoke the Mediterranean art of living, with a walk along the water, a lively market and a colourful atmosphere. I live in the south of France, near Marseille—the Côte d’Azur is not far away! I wanted to convey that gentle way of life. I already had a colour palette in mind. I wanted to draw attention to the characters and the interactions between them. I also enjoy imagining their clothing. The red-and-white chequered pattern is a nod to one of the products in the brand’s catalogue. I also like to add small living elements, such as a little dog or seagulls, to bring movement into the scene. There is always some white space in my illustrations too, like a breath of air. The setting is suggested through a few market stalls and their parasols, with the sea in the distance.
How do you feel about the fact that García de Pou’s catalogue covers have been illustrated for more than 40 years by artists such as Labanda, Forges or Mariscal, among others?
Too few brands choose to entrust their communication to an illustrator, which is a real shame. Photography is used far more often. I think it is a great strength of García de Pou to place its trust in artists who tell a story and bring a sense of dream and poetry. At a time when visuals generated by AI are everywhere, it is a wonderful way to stand out and to prioritise human connections.
When it comes to commercial commissions, what is the biggest challenge?
Trying to stay as close as possible to my initial idea, the original sketches and the colour palette. If there are too many back-and-forths and too many intermediaries, the spontaneity of the drawing is lost. For this cover, the brand gave me quite a lot of freedom while still having a clear idea of what they expected. I am very happy with this collaboration!
Which project has given you the greatest satisfaction or enjoyment? And if you could choose freely, what would be your dream project?
Working with constraints on commissioned projects is very formative. I love creating illustrations for The New Yorker! The exchanges with art directors are constructive, and the collaboration is very rewarding. I also really enjoyed creating vinyl record sleeves for the Born Bad Records label. I would love to illustrate film posters—I created one for a documentary a few years ago, Bains Publics, directed by Kita Bauchet. It was a fantastic experience that I would love to repeat. I would also like to paint on a larger scale and return to creating murals.
