KARINE GARNIER | Interviews
Interview by Alexandre Orlowski
KG BY JULES MAGISTRY (BG ADAPTED FROM SIMON BAILLY)
Founded by Karine Garnier, K.G. Talents is a Paris-based agency connecting artists across illustration, painting, collage, and image-making with brands through contemporary visual culture. With a focus on singular perspectives and evolving practices, the agency reflects a landscape where disciplines converge and artistic expression expands across formats.
SIMON BAILLY — PERSONAL WORK
SIMON BAILLY — PERSONAL WORK
What was the turning point that made you want to start your agency more than 16 years ago?
I spent three years working as an art buyer in an advertising agency, where I gained a strong understanding of brands’ expectations, working processes, and operational constraints. More importantly, it was there that I discovered the role of the agent and the work of a diverse range of artists. I quickly realized that my real interest lay in supporting them—guiding their development, advocating for their work, and creating opportunities for meaningful collaborations.
BROLL & PRASCIDA — CHANEL LES EXCLUSIFS
ANNA GLIK — VICTORIA AND ALBERT MUSEUM X CARTIER
ROXANE LAGACHE — CHANEL
Looking back, how has your vision of the artist agent role evolved?
At the beginning, my focus was mainly on illustration. Today, the agency covers three mediums: illustration, painting, and collage. This diversification wasn’t part of a strategic plan— it emerged organically in response to client needs and encounters.
The artists’ practices have also extended across a broader range of formats, spanning traditional campaigns as well as objects, editions, storefront displays, installations, and event-based interventions.
MANON DIEMER — AIR FRANCE
AUDREY BERTOIA — JACQUEMUS
JULES MAGISTRY — POLO RALPH LAUREN
What defines your perspective when selecting artists, and how do you identify talent with lasting potential?
I would highlight two key elements: distinctiveness and rigor. I value a strong diversity of artistic languages and techniques — a catalogue in which each practice is clearly differentiated. At the same time, every artist must demonstrate a high level of technical and conceptual mastery.
Longevity often lies in the ability to evolve without compromising one’s identity. Equally important is the human dimension, as these are long-term collaborations grounded in trust and mutual understanding.
CLARA PANETIER — PARIS RÊVÉ, ÉDITIONS DU CHÊNE
ELSA MARTINO — PARIS 18 
TÉO TRANSINNE — FESTIVAL FERNANDE
How do you align brand expectations with the distinctiveness of each artist?
The dialogue operates on several levels. The art director plays a key role in interpreting the brief and establishing a clear creative direction.
On my side, I ensure that the collaboration is coherent and well-matched. The objective is to maintain integrity — not to dilute the artist’s work, but to position it thoughtfully within the brand’s project.
It is ultimately a matter of balance.
ÉTÉ 1981 — PERSONAL WORK
YANN LEGENDRE—BREUNINGER DEPARTMENT STORE
LOUISE DUNETON — EXHIBITION "LE FRUIT DE NOS ENTRAILLES"
Are clients today more open to strong artistic approaches?
Yes—brands, particularly within the luxury industry, are increasingly seeking distinctive signatures and fully developed creative universes, rather than purely execution-driven outputs.
Collaborating with artists enables them to bring a more distinctive, authored, and embodied dimension to their projects. It is a trend that is steadily intensifying.
DAMIEN NICOLAS ROUX — PERSONAL WORK
JENNE PINEAU — WALLPAPER BIEN FAIT
CANDICE ROGER — PERSONAL WORK
What visual or artistic trends are you currently observing?
There are several things, but two stand out to me in particular. On one hand, motion illustration is growing rapidly, driven by increasingly dominant digital uses. On the other, collage is becoming more and more prominent. It offers a different way of telling stories, building rich, layered images through a mix of techniques—photography, illustration, animation, paper art, and more. More broadly, there’s a noticeable return to something more tactile and sensitive—less polished, more expressive.
MARTIN COLE — ZARA MEN
JULIEN LANGENDORFF — SAINT LAURENT
JULIE SERRE — DIPTYQUE
Are AI and new technologies changing the way you work?
No—and that is a deliberate choice. The artists we represent all maintain a traditional practice. This is fundamental to their approach and closely aligned with our clients’ expectations. Within the luxury industry in particular, there is a strong emphasis on craftsmanship, materiality, and the value of the handmade.
LISA CARPAGNANO — REVUE IMPRESSIONS
CAROLINE ROMAIN-DESFOSSÉS — LE PRINTEMPS-CHRISTMAS
FRÉDÉRIQUE VERNILLET — CHOCOLAT CHAPON
What is the most invisible yet essential part of your job?
The relational dimension—both with clients and with artists—is central to the strategic positioning and visibility of our talents’ work. It relies on a rigorous process of selection and targeting: cultivating a refined understanding of each client and their universe, and presenting thoughtfully curated, highly relevant portfolios.
TRISTAN BONNEMAIN — HERMÈS
THÉOPHILE SUTTER — LE MONDE
ALEXIS BRUCHON — KG TALENTS 2026 GREETING CARD
And to conclude, how would you describe THE AGENT’S CLUB in three words?
In four! The place to be.
NICKIE ZIMOV — PERSONAL WORK