20th century visual culture and children’s storybooks are the inspiration behind illustrator Felix Nankivell’s whimsical drawings. Hand-drawn, often in fountain pen or watercolour, Nankivell’s illustrations capture playful scenes — from author Oscar Wilde for the Sydney Opera House, to a charming French town square, and high-fashion commissions for brands including Giorgio Armani and Hansen & Gretel.
Here, Nankivell sits down with T Australia to talk about conjuring narratives through illustration, his creative process, and Cecil Beaton’s sketchbooks.
Where do you draw your inspiration from?
A mix of childhood nostalgia and 20th century visual culture. I grew up on a cotton and cattle farm in rural New South Wales (although I don’t come across as very agricultural). I started drawing from a young age as a way of entertaining myself and escaping into other worlds. I’ve always been drawn to anything with a strong sense of character, wit or place, from Peter Rabbit to Cecil Beaton, Saul Steinberg, mid-century French illustrators and old New Yorker covers. I love how a single image can hold a whole world, whether it’s in a children’s book, a political cartoon or a vintage fashion sketch.
Are there any references you find yourself returning to?
I come back to vintage editorial illustration (a lot), Beaton’s sketchbooks and certain children’s classics like Eloise, Madeline and Dr Seuss. There’s something timeless in the way they distil mood and environment with such flair. I also love 1950s and ’60s fashion illustration for its looseness, its attitude and the way so much is conveyed with so little.
What is your preferred medium?
I mostly work with a Lamy fountain pen or loose watercolour, then digitise and layer textures in Photoshop or Procreate to build depth. Even when working digitally, I try to retain the feeling of something hand-drawn, something human and tactile.
Photograph courtesy of Felix Nankivell.
How do you develop your commissions?
It always starts with a conversation. I want to understand the mood, the message and the story the client wants to tell. From there, I sketch loosely to explore tone and shape, then refine once we’ve landed on a shared visual direction. I try to make the process feel effortless and collaborative while staying true to the integrity of the illustration. Commissions for friends are especially fun. They always surprise me. I end up learning something new about them, and the whole process just feels more relaxed and personal.
How do go about bringing a client’s vision to life?
Listening comes first. I ask a lot of questions about their references, their taste and what they’re really hoping to get out of the piece. I usually share a few loose sketches or style options early on so we’re on the same page from the beginning.
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Do you have a favourite piece so far?
One of my favourites is a large drawing of a French town square, created during a time when I had the space to slow down and draw purely for the joy of it. I also really loved working on “The Importance of Being Oscar”, a commission for La Trobe University and the Sydney Opera House. It explored Oscar Wilde’s life and legacy through a queer lens. I’ve always admired what he stood for: his wit, the scandal that surrounded him and his fashions.
The French Town Square. Photograph courtesy of Felix Nankivell.
Is there a piece you’d love to create, but haven’t had the chance to yet?
I’d love to illustrate a mural in a restaurant or develop a series of large scale works for a gallery setting. I’m always thinking about how illustration can move beyond the page, how it can inhabit a space, shift the atmosphere and become part of a physical environment. There’s something powerful about illustration and how it can wrap around you rather than just sitting in a frame. I’m really interested in how narrative and character can unfold across walls, objects and interiors in unexpected ways.
Is there anything we can look forward to seeing in the future?
I’ve recently completed my studies in interior design and I’m about to start a new role, working on some beautifully considered projects alongside a group of very talented creatives here in Sydney. I’m particularly excited to explore the intersection of interiors, illustration and styling, which feels like a natural extension of my practice and a new way of storytelling through space and image.
