Sarah Martinon
Illustrator
In their own words
I immediately connected with the references the art directors shared with me and with the story the film was telling, this idea of being transported into a kind of waking dream.
My drawings became the space itself and interacted with her.
Developing a graphic design language together can work, but after a while I realised that drawing language is something much more personal and difficult to share.
I wanted the window to work a little like Goodnight Moon, where you discover new things each time you read it.
I immediately connected with the references the art directors shared with me and with the story the film was telling, this idea of being transported into a kind of waking dream.
My drawings became the space itself and interacted with her.
I loved the idea that my drawings were quite literally becoming envelopes for the objects inside.
I painted absolutely everything, down to the covers of every book in the piles on the floor, the pattern on the desk – even the tiny elements that might go unnoticed.
Articles & interviews2
- Luxury Brands Choose Sarah Martinon for Art AI Can’t Match
Creative Boom interviews Paris illustrator and designer Sarah Martinon about her human-made work for luxury clients including Chanel and Hermès. The article traces how her pattern-based drawings expanded from fashion and wallcoverings into packaging, animated film worlds and Hermès's immersive Lugano window display, positioning her craft as a persuasive alternative to AI-generated campaign imagery.
- Luxury Brands Turn to Sarah Martinon for Hand-Drawn Campaigns
Creative Boom profiles Paris-based independent illustrator and designer Sarah Martinon, whose hand-drawn work spans fashion campaigns, animated film, interiors, packaging and physical retail displays. The article highlights her Chanel Winter Constellation film and widely celebrated Hermès campaign and Lugano window installation as evidence of luxury brands investing in distinctly human-made craft rather than AI imagery.