Category: Non classé

At Home with Grammatical

Dear all,
We take this opportunity at the beginning of the New Year to thank you, for all the fabulous photos of your interiors, which we receive week after week…

Thank you for continuing to send us your pictures on Instagram with #grammatical


Thank you for coming…

The entire grammatical team was proud to present the work of Frédéric Forest and Quentin Simon, this book is also the first book in a long series.

It was a pleasure to have you for our first exhibition, it’s the first and definitely not the last, next cities would be Miami, NYC, and lot more to come…

Photos credits Mathieu Pellerin

Alba, the Genesis of the Project

It is in the context of the exhibition Alba which will be held from November 15 to 17, that we met Frédéric Forest and Quentin Simon. Comfortably settled in our workshop at 21 avenue du Maine, they tell us the genesis of their joint project: Alba.

ALba, Frederic Forest Quentin Simon

G. How did you meet?

FF. Very simply, by Instagram. Pretty soon, I stumbled upon his account fairly quickly. In the infinite and continuous flow of images that circulate, his posts often resurfaced in my memory. They endured. Which is for me one of the values of photography. Photography should leave it’s mark on both memory and imagination.

I immediately enjoyed his very natural, direct work, which was quite far from the misapplication of filters and overediting. I sent him messages to tell him that I was fond of what he was doing. Then, we talked a lot about architecture (which I had hesitated to pursue in my studies) and photography. I also consider my work as manual photography. And then, soon enough, we talked about books. Very naturally, the idea of crafting a book together, came rapidly.

Van Der Rohe in Barcelona

G. Quentin, what do you appreciate about Frédéric’s work?

QS. His purity, his simplicity. He manages for a black line on a white background to express much more than what others manage to with all of the colors and techniques available today. The efficiency of his lines is astonishing. I think that I always prefer less and less frills, whatever the art: overloaded music or photos that are “over-filtered” for example, and Fred’s work is the opposite of that. It goes straight to the point, without cheating, with a raw and natural elegance.

Van Der Rohe in Barcelona

G. Frédéric, what do you appreciate about the work of Quentin?

FF. We have about the same perception of each other’s work. For me, Quentin’s work has this unique blend of sweetness and rawness. I mean raw in the sense that it feels intact, untouched, not transformed. I think it comes from his use of film instead of digital cameras.
This technical choice is important in his capacity of letting go all while maintaining his mastery of the technique. His images really express a vision. Something that instantly knew how to see and take the time. I often tell him that he makes cinematographic works with his images. We also talked a lot about Chris Marker’s film “The Pier”, which a key element for us in the founding of the Alba project.

G. This book project took more than 2 years to complete, why?

QS. The book project was not born right after our first meeting. It rose from several discussions of our works, our inspirations, and many more things that the project materialized. Starting with a vague idea, we then focused on architecture, then specifically Bauhaus architecture, and finally chose the pavilion of Mies Van Der Rohe in Barcelona, a building that I had already photographed myself. The concept around the resident of the pavilion – Alba – came later, during our exchange of drawings and photographs.

Alba Book by Frederic Forest and Quentin Simon

Van Der Rohe in Barcelona

This long delay also comes from the fact that I cannot go to Barcelona every day, and also Alba is the first book by Grammatical and so many things had to be set up for this occasion.

G. Frederic, you never went to the Barcelona Pavilion, why?

FF. During my studies, we took a trip to Barcelona, it was part of the organized tours, but for some reason I forgot, and we could not get in. When Quentin would show me his negatives from the pavilion, he would often invite me to go back with him.

Van Der Rohe in Barcelona

There were different reasons and excuses for not making the trip, certainly signs that I should not go there. But more than anything, I liked the idea that my drawing would bring the fictional aspect of the story. It is part of the exoticism too, of this fantasy that one has of a place that one imagines without having ever been there, of a place of which we saw so many images, films, floorplans, and models. I had imagined it so much that I did not want to betray the image I had made for myself of the place.

Moreover, it was very useful for editing the book that we really thought of as a short film. The scene of a day or several days of this sculpture, or rather of this resident, which we turned into a character: Alba.

Alba Book by Frederic Forest and Quentin Simon

G. What are your next projects?

QS. Perhaps another book, about my last trip in June in Buryatia (Siberian region), I am currently looking for a publisher (this is a bottle in the sea!). I also have planned a lot of fashion shootings coming this fall.

FF. Prints by Quentin, some paintings and original drawings that are part of this book will be exhibited on November 15, 16 and 17 at 78 rue de Turenne in Paris. We will also be signing the book at this occasion. Then there will be a series of small books thought of as stolen notebooks that are currently being worked on. The first part should come out in a short time …

Alba Exhibition posters

Open from november 15 to 17
11:00am – 8:00pm
78 rue de Turenne
75003 Paris


Alba Exhibition, the first exhibition of Frederic Forest and Quentin Simon

Grammatical is proud to invite you to our first Exhibition in Paris to present the book of Quentin Simon and Frederic Forest: Alba

Come and see the original drawings, paintings and pictures featured in the book. You’ll also discover the launch of new limited prints…

Frederic Forest and Quentin Simon will be there during a signature session: Friday, Saturday and Sunday from 6:00pm to 8:00pm.

Open from november 15 to 17
11:00am – 8:00pm

78 rue de Turenne
75003 Paris

Hope to see you there!

At home in Paris

Pauline d’Hoop is an interior architect, mother of 3 children and an art lover as well.She follows Frederic Forest’s artwork for years and we can say that she’s got a pretty nice collection of his drawings.

Here is her last appartment in paris. Here and there, she has arranged fetish objects and carefully chosen furniture that she was able to glean during her time. She lets the light through the volumes of the living rooms with its Parisian and casual style. A spirit that has already pleased many private customers, hotels, several restaurants such as Le Camondo and brands like Sézane

Frederic Forest’s works and limited prints arise and move according to his moods in the living room, the office and the lobby. The clear and delicate lines of his drawings are as light to place as to look. Architecture, body, dance, are all themes that could not cohabit together without the sensitivity of Frederic crossing them.

«I am always surprised that a Parisian or New York gallery has not yet presented him … I currently leave it to the precise selection of his work by Grammatical. »

Frédéric Forest’s Tattoo Permission

Frederic Forest Tattoo Permission

I had the pleasure of receiving so far, thousands of pictures of my drawings tattooed on your bodies. It is always with great pride, emotion and gratitude that i receive these pictures. 

I also receive a lot of requests from tattoo artists, whom I also thank for their seriousness, who want to know if I have given my consent to this or that reproduction of my drawings.

To simplify the application process, be aware that you can now request a tattoo permission for a unique drawing from grammatical website.

Here is the Tattoo Permission.

With many thanks from Paris

Frédéric Forest

Alba: Frederic Forest and Quentin Simon

A L B A by Frederic Forest and Quentin Simon

ALBA is a visual essay inside the Barcelona Pavilion designed by Mies van der Rohe and Lilly Reich, a journey with the sculpture created by Georg Kolbe placed in a water basin.

The story told by the artist Frederic Forest and the photographer Quentin Simon follows a day of ALBA, her relationship with the architecture of this iconic place. The minimal drawings play perfectly with the silver photographies. ALBA meets and shares their vision of her feelings.

This graphic movie on paper shows the allure of light, the awakening of ALBA, stares the movement of her body dancing with the marble walls, her reflection, the nature that surrounds, and finally her escape to real life.

• Limited Edition 250 copies (First Edition)
• 19 x 25,5 cm / 7,5 x 10 in. Format
• Hardcover Book
• Black and white 112 Pages
• Hand Numbered
English and French Texts

The book includes :
• 46 drawings by Frederic Forest,
• 39 photographies by Quentin Simon,
• 2 Exclusive Limited Prints Hand Signed by Frederic Forest and Quentin Simon.

The book is still available in our store


Horse Series

Frederic was glad to have been invited to decorate the rooms of the Barn hotel. You can find in each room of Barn hotel one of the drawings of the collection “Horse Series”

Horse series frederic forest limited prints

Set between the oaks, elms and silver birch, two large red-coloured barns emerge from the landscape. Tucked away in the Rambouillet forest, Le Barn lies in the heart of an estate covering more than 200 hectares where nature alone is master.

Wherever you look at Le Barn, there are horses. A veritable paradise for riders of all levels, you could almost believe that the Rambouillet Forest was created for riding.

Horse series frederic forest limited prints

Horse series frederic forest limited prints

Backing onto the Haras de la Cense stud, a major centre for the relationship between man and horse, Le Barn offers guests the opportunity to experience a personalized horse riding, as well as initiations to an approach of the animal on foot and on horseback, based on equestrian techniques and the knowledge on the horse’s nature revealed from the science of behavior: ethology.

Horse series frederic forest limited prints

These drawings are now available on our shop

Self Love Woman: the story behind iconic drawing of Frederic Forest

The famous drawing by the french artist and draughtsman Frederic Forest has toured the world and has become an icon for many women, but what is its true story? Frederic answered us in his workshop in Paris :

How was this drawing born?

I draw every day and I have long looked for a symbol to express an immediate vision, a direct image of what a woman should think of herself. For me, it must have been a calm pose, an attitude for oneself. I did a lot of body sketches, gestures, hand placements. It was an ongoing project, but nothing really suited me.

So many times, I put aside this project and I started again from time to time. Then, there was an event for a very close person and I spontaneously made this drawing. It came without thinking. The. Like that. I knew immediately that it was the design I wanted to do for a long time. He was there. I did not give him a title and I offered it.

It’s also one of your few drawings with color?

I draw or paint with colors time to time but this original drawing did not have one. I did not post it on Instagram or somewhere else. Something very personal. And then, David Souffan, a friend then Art Director of Lancôme International, asks me if I will be interested to collaborate with him on their campaign during the “Women’s Day” that we also call the “Day of Women’s Rights” in Europe. He liked my work and the delicacy of my line corresponded to what he wanted to show at Lancôme.

I had never done such a worldwide project with this magnitude. The subject pleased me and we started. David wanted a group of women, an expression of the feminine diversity, strength and life of many friends together. We did several tests and in one of them, I took this drawing, I placed it in the center. I did a test with a colored arm for the symbol to be more effective and relevant. It is both a central hero and a link with her partners who are more that just friends.
Then, David had the idea to vary this crew and the campaign has had different versions with the character alone, three and five women together. We were delighted with the result and the campaign was very successful around the world.

This drawing that had no title has had several … which one is right for you?

Her arms intersect and form a heart with her shoulders. Her posing speaks both of the attention you carry for yourself and the hands that escape from this movement open onto others and the world around us. I did not have a title for this drawing. I did not want it. For me, it simply says something essential for women.
The spread and viral aspect of social networks has indeed written and titled several. But the two which came back most often were “Women’s Day” and “Self Love”. Which meant that this drawing had become in less than a week an worlwide icon for many.

I received a lot of messages saying that it was a strong symbol and calm at the same time, without origin or religion, without age or form. Something universal. « Self Love Woman » seems to me the best title.

How did “Self Love Woman” come in with Grammatical?

This drawing has already had several lives between its research, its first intention, its evolution with the Women’s Day and its journey with the thousand tattoos inked in the world (Lucy Hale has also one on her arm)… It still sounds as a personal and intimate echo for the women in the world and it had to have a new life. I put quite a long time before I decided to propose it to Grammatical to launch limited prints, but I still continue to receive so many requests to order the drawing of « Self Love » that it seemed natural that it is available.

You have to know how to listen and respond to your audience. This is very important even if you need time to follow it. This is also a sharing way to thank them all for their support. So, this first edition of the limited edition of this « Self Love Woman » drawing is therefore presented in its original aspect, as I realized it the early first time, with a black line. It is important for me to return to its early life. By the way, another rather strange story about this drawing is that the Japanese brush I used to do it, I can not find it in the trade anymore. Maybe it does not exist anymore but maybe it meant that it was the right tool for this image and that I should not do it otherwise. But I already found other fabulous brushes and I did not stop drawing …

And after ?

I am now quite curious to discover the interiors in which the « Self Love Woman » will be hung …

The Self Love Women drawing is available on pre-order until the 31th of January !

Interview with Frederic Forest

Born and raised in Annecy, the “Pearl of French Alps”, Frédéric Forest discovered his first love before he could even write: drawing. 

This passion lead him to Paris to study product design and took him around Europe, working for a host of luxury brands, before settling back into Parisian life where he started with interior and product designer Clémentine Giaconia.their eponymous design studio: Forest & Giaconia,  

However, it is indeed ‘drawing’ that he is best known for with a cult like following stretches across the globe; almost 200k followers as @fredericforest on Instagram and over 3500 people tattooing his artwork on their bodies, the ultimate sign of fandom. 

For Grammatical-Paris – , he spent time doing what he loves the most : drawing in his Parisian studio. The resulting limited prints let us serve as further inspiration for those already converted and the perfect introduction to Forest’s specific style for new fans alike. 

As you can imagine, we feel really honored by this exclusive collaboration and Frédéric wished to share with you a little more about his history and future projects with Grammatical …

Photos by Nomades – Studio Graphique et Magazine Photographique Lifestyle and Grammatical

Frederic, tell us your story. How did you get get to where you are ? Can you tell us more about yourself? What is the story of Frédéric Forest so far?

I grew up in Annecy, French Alps. I’ve spent my time for skateboarding, skiing, snowboarding with family and friends, and drawing. Like everyone else, I started drawing before writing. I have not stopped there, I love that. It’s a viral emotion. 

But I always wanted to do and desired to do product design. Because it was not about drawing for myself but for a project, for something larger. So, I graduated from ENSCI/Les Ateliers in Paris. While still a student there, I worked alongside on projects for Cartier leathergoods. I left France for Italy and the Adidas Advanced Design Studio in Montebelluna, where I designed for the brand’s high-end sports shoes range. Then, for international luxury firms, I used my approach for brand image, visual identity and product design. In 2008, after various experiences working with designers Erwan and Ronan Bouroullec, Noé Duchaufour-Lawrance and Jean-Marie Massaud, I set up with Clémentine Giaconia our own design consultancy studio FRST (partner with houses and brands), and an eponymous studio Forest.Giaconia (furniture and interior design with editors, and private projects).

What about your drawings ?

As for my drawings, I’ve never looked for a professional life. Instagram has cut a new part in my life, and made my drawings evolved so far. I love to draw, and that for as long as I can remember. Just draw and think about something else. That was very personal and now the drawings are sent worldwide… Maybe, this is because they are personal at first. This is also why I don’t sell all of them. Presently, there are two people who work with me on both art commissions and shipping works. 

It went very far indeed…

I’m more than glad to have collaborated with such great people such as Rosa and Rich with their Cereal magazine, Nick Knight and his ShowStudio who asked me to follow the Paris Fashion Week, Nathan and his Kinfolk magazine that I still be a fan, Vogue, Harper’s Bazaar. There are also several good projects with great houses and brands such as Chanel, Hermes, Bang & Olufsen, Dita Eyewear… 

There was also this beautiful project with the art director David Souffan and Lancôme during their worldwide campaign of the Women’s Day. This drawing of “Self Love” has been a crazy audience. 

And now I collaborate with on exclusive and limited prints.

You have many creative talents, such as draughtsman and running your own design studio. How did you come to love drawing and how did you cultivate your career in drawing while also operating a design studio?

Like everyone else, I started drawing before writing . I have not stopped there, I love that. Drawing is always part of design job, but aside that, during the evenings, I did it just for me according to my mood.

I have been interviewing creatives around the world for a while now. I am very aware of the term ‘inspiration’ from their point of view. It is mostly a result of random moments. But what about the influences?

Inspiration is a result of random moments running in my head and stealing everything I see. These moments could be everything, a smell, a sound, someone who you cross in the street, a cloth or its detail… My influences are around the edges, in photography, surf, fashion, skateboard, gastronomy, snowboard, music, travel, typography, ski, dance, poetry, colour and light. They enable me to express new feelings and suggest new stories, whatever the scale of the project.

I can’t remember where I read it, but you said in one of your interviews ‘A project is a dialogue’ which I hundred percent agree. Good idea can come along sort of different forms, but the execution and right brief are the keys. My question is what kind of projects would you like to work on in the future?

The list could be quite long. I would love to work on a hotel , villas, and there are projects that we can not stop to work on such as timepieces, boats

Having experience in many different fields (design, interior, art direction and illustration), what would you say has been your favorite role?

My favorite role is to not having a specific one. The most important thing is the relationship that you create with people, clients, customers, collaborators, audience, etc. This is where is the quality of projects.

How crazy is so many of your followers think you are a tattoo artist?

I’m stoked about that world, this tattoo audience. I’ve never expected that one day someone that I don’t would tattoo on of my drawings. Noway. Now, as far that I can count, there more than 3.500 around the world. For example, a man has inked on his body 4 drawings in one time, a woman did her first tattoo with one drawing that embracing all her back. But the most craziest thing is that more than 80% of them are their really first tattoo. Really crazy ! I think that is because I don’t draw faces. Not so much. I used to but I didn’t find the right lines. So, I guess that is the main point : Everyone can think about some in specific way because the drawings are focused on attitude, moment and gesture.

What do you think about social media in general? Obviously, it helps to artists/designers to get international recognition but on the other hand unexperienced really digital youth gets 

First of all, three years ago, I had an old smartphone and I used Instagram such as a cloud and for personal pictures only. Zero followers. Then, Clementine and I decided to close our websites and update them with new contents and art direction. It takes time. So, I started to post some images of our design work on my account, and some drawings, just like that, to show our work in progress, a kind of artwork, something aside that feed us, something that I do every time I can, something very personal at first… And it started to be out of control. No business plan at all.

Yes, its viral diffusion and its large feed. We live in this connected world. Everyday, you can find great things and ideas. It is something that can make you do better and evolve. I look at it such as someone else is looking at me. It’s a continual running dialogue. An open diary. In a way It’s like a mirror with two sides.

And no, because it is also a decoy, something that is definitely not real and about fast consuming. It mainly sells a false dream. This is the tricky thing with this connected world : we want it fast but with sustainability. Good things take time. It’s crazy how the manners have gone with smartphone attitude. Incivility has grown too much. Life is unscreenable. Most of my impacts come from reality, walking in the streets, chatting with friends, meeting people, going to museums or bookstores, reading magazines, taking pictures, drawing, traveling, skiing, skateboarding, surfing, running…

What is your design approach as a duo?

Clémentine Giaconia is an interior designer and product designer. We design duet. As woman with man, we cross our experiences and inspirations.Together we sign projects where the object and space form a whole, in a consistency of line and evidence materials. First we must surprise ourselves, otherwise others probably won’t be surprised by what we do. This is one of the advantages of working in tandem : good ideas grow by themselves and the bad ones disappear along the way.

Since we set up our design studio, we have worked across a wide range of disciplines, creating everything from furniture and household objects to commercial stores or private restaurant, yacht, jewelry and timepiece. Confendiality is our first concern. Never talking, never showing before the client agreement. They are mainly luxury houses with high-end knowledges and know-how. We are committed to respecting the charter of confidentiality of our customers every day.

Your main focus is design, only because it involves more creativity and focus more than drawing. Would you be agreed?

My artwork is about drawing. My main focus is design. Actually, I love them all, I have no favorites. Each field provides a new way to look at the other ones and this nourishes each aspect for me. Because they are all so very different: drawing stops on the paper, but paper is just the beginning for design.

Drawing is always part of a being a designer. It is the first word, the starting point, then it develops several sentences and eventually becomes the answers we were looking for. Then it turns into something else: from modeling to the final, real product.  

But the main thing is the number of people that are involved. A design project is very much a casting process from the client’s team, our design studio team, the partners, suppliers, retailers, etc … A good team of clients means that the brief will be good, which means that it will provide us with a good challenge; which then means good design, which finally turns into a good product. 

When I’m drawing, however, I’m unequivocally alone. It all has to come from me. It’s like skiing or surfing. No matter the project or end-idea, I need to trust myself, go with it, and let it all flow naturally. 

Obviously, you appreciate woman figure. It is a predominate theme in your work and I am personally drawn to the beautiful ways in which you draw them. What inspired you to draw women as eloquently as you do?

Thank you for your words. Well, I grew up into a feminine family, with a mother, sisters, aunts, grandmothers. I try to draw women like they are, not like I would like them to be. But I draw males too. Women have always been a main inspiration. Actually, I don’t draw faces. Not so much. I used to but I didn’t find the right lines. So I guess that is the main point : Everyone can think about someone in specific way because the drawings are focused on attitude, poses moment and gesture.

Your drawings of women’s figures seem so minimal in stroke, yet so rich in emotion. I love how you portray women’s bodies with such careful curves, elegance and even respect. Your drawings of women, make me proud to be a woman and proud of my body. With everything that has been going on in the news, regarding gender inequality, female objectification and #MeToo, do you see your work as an outlet or a way to speak to/inspire others on how women should be seen and respected? 

I’ve received this kind of education base on respect and humble feelings without stopping me from enjoying life. There comes my attitude to not be up to decide things for others. But when there is a blatant injustice about a person because she/he is different in color, religion or without religion, shape or age, That’s really makes me mad.

# like that should not be necessary, because women and men fought for rights that few people are insidiously withdrawing. But, unfortunately, they are. They are saying that we must not fall asleep and must not ignore that this still exist and that we must still denounce, while we are in 2018 … That’s one the shame of our history with the destruction of our environment. Our time should be progressive. And I’m one of those many men who regret the retrograde behavior of these violent predators. Now, the real question is whether such a word could have prevented one of them from becoming a president of a country that I love. 

So, if my drawings can help someone in one way or another, then I’m delighted, because it’s no longer about art but about leverage, strength and an appeasement for something good and important.

Does it get hard to express what you see while translating to the paper? 

Drawing an “etude” doesn’t take a very long time. But coming to draw one takes time. Finding the right pose, the perfect light, the most important aspect of the image that I have in mind, and the perfect tool. What then appears on the paper is a whole other phase …

Apparently, you are working on several book projects. Can you tell us more about that?

There is a current project that I love to work on : it’s a free collaboration with the French photographer Quentin Simon who has a very natural approach. We liked the idea of having a dialogue between our works and we spoke about architecture, trips in Spain and the Barcelona pavilion drawn by Mies Van der Rohe. Fairly quickly, we have focused on the sculpture of Georg Kolbe laid in the recess of the water basin : Alba. This suspended time when light and shadow are facing each other. For us, she was the beginning of the building, but also a prisoner of her reflection in the water but also in the marble and glass, thereby creating the sensation that she is multiplied in space. So, we started to imagine the rest of her story, how she would go out, where would she go, what she would do in other places, new sites, other architectures…

And there are some others in progress : an art books serie with only drawings, and more to come…

What is next for you? Where will be seeing your name?

Those that I don’t know yet…

What would you advise to young creatives?

It could be easy to tell the different footsteps that I tried and what happened. But it’s hard to show a guide on that. The main thing is the work. Listen, look, travel, learn, read, work, try and do it again and again. If you stop learning, there is a problem. You have to understand how really works the industry, whatever it’s about the art system, fashion, furniture, wine & spirit, timepiece, architecture, jewelry, interior… and so the technics, factories, suppliers, people, merchandising, store, network, medias… These are the main clues to find and create your own way.

Thanks Frédéric!

Merci à vous !