CYRIL MAGLIULI | 03/12/25 | The Mag | The Agents Club
CYRIL MAGLIULI | Interviews
Interview by Alexandre Orlowski
LA SLOW, l'AGENCE is a Paris-based illustration and graphic-arts agency, rooted in the same creative ecosystem as SLOW Galerie. La SLOW combines art-world credibility with professional representation, making it a unique bridge between illustration as fine art and illustration as craft for commercial, editorial, and experiential clients.
Cyril, you founded La Slow almost seven years ago. How did your background lead you to becoming an illustration agent?
It started when my wife and I spent a year living on a sailboat in the Mediterranean. After returning to Paris, we opened SLOW Galerie in 2014 to highlight emerging illustrators. The gallery quickly became a hub where artists and agents met. Lamia managed the gallery full-time, while I continued working in legal IT. In 2018, alongside our other jobs, we began acting as agents for our first illustrator, Virginie Morgand, whose workload had grown significantly. A year later, we officially launched La SLOW and formed a small team of around ten illustrators from the gallery—people with whom we had already built genuine trust.
JEAN MALLARD – LES ÉCHASSIERS
JEAN MALLARD – CAVALLERIA
What sets La Slow apart from other agencies?
Our gallery roots strongly influence our identity. We represent artists with a distinctly artistic approach—those who work primarily by hand with paint, pencils, pastels, markers, and paper. Even if digital tools are part of their process, their ideas and compositions come from craftsmanship, giving their work a singular feel. We’re also unusually hands-on: we join every brief and guide the dialogue so both the client and the artist feel supported and aligned throughout the project.
SEULA YI – BLUE IN CITY
SEULA YI – FALLING
What criteria do you use when choosing artists?
We look first at originality and whether the work translates well to commissioned projects. Technique matters too—our artists must demonstrate real mastery. Beyond that, the human connection is essential. Trust needs to be mutual, because we’re responsible for delivering excellence to demanding clients, and artists rely on us to manage their careers and income.
BENOIT AUPOIX – ST AMAND LES EAUX
BENOIT AUPOIX – DANS L'ATELIER DE JOUETS
Do you look for specific styles, or balance within your roster?
I’m not trying to represent every style or chase trends; that would lead to an oversized, unstable roster. My priority is to support a small number of artists over time—people whose style is personal and lasting. Distinctiveness is more important than ever in a world shaped by AI. Illustration is still quite resistant to AI because it’s so tied to individuality, and it’s obvious when an AI mimics a popular look. AI doesn’t create—it recombines. Human artists imagine what doesn’t yet exist. Without that artistic sensibility, even the best prompts can’t replace a true graphic voice.
ANGELA MCKAY – MARRAKECH NIGHT GARDEN
ANGELA MCKAY – VIEW FROM THE RENTAL
What are clients looking for today when they hire an illustrator?
Once they’ve chosen an artist for their style, clients expect professionalism: flexibility, clarity, and respect for deadlines. Thematically, requests reflect broader social moods. As society becomes more individualistic, clients want images of togetherness. As divisions deepen, they ask for diverse representations—ethnic, generational, social.
CLÉMENCE TROSSEVIN – REPOS
CLÉMENCE TROSSEVIN – BUTTES CHAUMONT
As urban life disconnects people from nature, they commission more natural scenes. And in discouraging times, they look for joyful imagery. Recently there’s also been rising interest in fantastical and dreamlike worlds, which still respond to the same collective desires.
LOLA PÉNICAUD – LA PETITE FLEURISTE
LOLA PÉNICAUD – DANSE SIDÉRALE
How do you support an artist throughout a project?
I begin with the client, evaluating feasibility, budget, and timing. The artist only joins once everything is confirmed. After the admin phase, we move into the creative brief—mostly over video now. In that meeting, the aim is to gather every useful detail so the artist can start in the right direction immediately.
PAUL DURU - PARIS CITY POP
PAUL DURU - LUXE, CALME ET VOLUPTÉ
I attend every brief, both to make sure the request matches the quote and because it’s the part I enjoy most: ideas forming and being refined together. After that, the artist manages most of the creative exchanges, while I stay involved in all communications to support both sides and help resolve any difficulties smoothly.
MARIE GUILLARD – FOUGANZA
MARIE GUILLARD –UN SECRET
Have you developed your own working methods or tools?
My background as a software engineer naturally pushed me to create tools for organisation and pricing. One example is a calculator that determines licensing fees based on usage, territories, duration, and number of images. Clear, structured pricing matters to me—I never want quotes to feel improvised. These tools make our process transparent and reassuring for clients.
CAMILLE DE CUSSAC – LA BAMBOCHE
CAMILLE DE CUSSAC – LES GRANDES TABLES DU MONDE
What are your ambitions for La Slow in the coming years?
To continue championing the craftsmanship of our illustrators and collaborate with brands that value thoughtful, art-driven work and authentic creative voices.
VIRGINIE MORGAND – LUX
VIRGINIE MORGAND – ST TROPEZ
VIRGINIE MORGAND – CHEZ SÉNÉQUIER
And in closing, how would you describe THE AGENT'S CLUB in three words?
