Based in Fukuoka for the past 18 years, Vincent Lefrançois is a freelance illustrator whose main focus is comics – a passion of his since childhood. After studying plastic arts in Paris, he was sent to Fukuoka by the French Ministry of Foreign Affairs in lieu of completing obligatory military service. Initially employed by the Institut Franco-Japonais, he embarked on his career as an illustrator in 1995 with a publication in Avanti. Since then, he has worked for the likes of JR Kyushu, Asahi Weekly, NHK and this very magazine. In 2003, he set up his own studio, Atelier Décalé, which roughly translates as “The Offbeat Studio”. The name reflects his personal philosophy – to see things a little differently, from a certain distance. He says this outlook on life stems from his status as a foreigner in Japanese society – he is halfway between the cultures of France and Japan, but not fully a member of either. He has used this position to his competitive advantage, working with Casterman Publishing to adapt Japanese manga for the French market. Be sure to check out his exhibition this month at the Institute, part of a global ‘Franco-Japanese Comics Festival’.
We met to discuss how the Frenchman came to find himself in Fukuoka, some of the milestones and challenges of his career here and his dream of publishing a book of comics.
You left France for Japan 18 years ago. What were your reasons for coming to Japan?
To make a long story short, I didn’t decide to come to Japan – I was sent here. At that time in France, there was still obligatory military service. That’s not the case today. I didn’t want to be a soldier , and so there was a possibility of sitting an exam and asking for a post abroad from the Department of Foreign Affairs instead. I sat the exam and passed it, and I asked to be sent abroad. I studied arts, which I knew didn ‘ t interest the Department, so I said “Send me wherever you want.” A wonderful opportunity came my way – my file landed on the right desk at the right time – and I received a call from the Department asking if I was interested in Japan. I said yes, although I didn’t have a special interest at the time. They asked me if I could leave in 3 months and I said yes. So there you go, I was sent to Japan though I didn’t know much about it, and I’ve stayed all these years because it’s so fantastic!I’ve been in Fukuoka the whole time. When I first arrived, I worked for the Institut Franco-Japonais du Kyushu. I did a lot of different things there – I was a French teacher, I made flyers and notices, I organized events, I played guitar and sang at some of them. I was a sort of cultural attaché.
What is it like being a foreign artist in Japan?
A particular difficulty in my work with comics is that my drawings are often intended to be funny and as a Frenchman, my sense of humor is very different to that of the Japanese. In Japan, there is a very direct humor, whereas in France the sense of humor is more ironic, more dead-pan. Humor is cultural – I watch TV here and my son and wife are laughing at something that I don’t find funny at all and vice versa. I laugh at a French joke, and they don’t. However, I’ve lived here for 18 years now, so I am beginning to know what will make Japanese people laugh and what won’t. I adapt my work to the culture here.
It’s especially difficult to be a freelance illustrator here in Japan because everyone draws here. It’s part of the culture. It’s very easy to define oneself as an illustrator here, but the problem is that not everyone has the same talents – there’s a lot of competition and not a lot of work. I base my work on my position as a foreigner in Japanese society, not on my talent as an illustrator. I am French and I have lived in Japan for 18 years, something that is quite rare amongst illustrators. It’s a small advantage that I want to absolutely make the most of. I’ve had the opportunity to do that in my work with Casterman Publishing adapting manga for the French market.
What is the biggest difference between life in Japan and life in France?
Wow, that’s a tough question. It’s difficult to answer, but I’m under the impression that in Japan, when you’re an honest worker and serious about integrating yourself into society, every possibility for growth and development is made available to you. There is competition of course, but there is also a real sense of support from society. When I made it obvious that I wanted to integrate into Japanese society, doors were opened for me quite easily. In France, although I’ve never worked there, I have the impression that the competition is very intense, that doors aren’t opened quite so easily. Everyone is looking out for themselves, putting themselves forward. The big difference is that in Japan , you attain status in society by cooperating with others and doing as you’re asked, whereas in France it’s the opposite – you attain social status by not doing as others do, by bringing something extra to the table. In brief, a collective society versus an individualist society.
The name of your studio, Atelier Décalé, roughly translates as “The Offbeat Studio”. Why did you call it that?
Because it expresses my outlook on life, the philosophy behind my work. I’ve lived in Japan for a very long time, and so I am pretty much halfway between the cultures of France and Japan. I’m French, not Japanese of course , but I understand Japan well at this point. As a foreigner, I see things with a bit of distance – I have a culturally different view. For me, it’s important to keep this distance. My originality as an illustrator comes from that – from my special position in the middle of the two cultures, being able to understand both, to mix them, to add a touch of poetry to my work. I set up the studio in 2003. It’s a brand, a copyright for me. The goal is not for it to be “the work of Vincent Lefrançois”, but to give a global brand to what I do. I work at home and have an assistant who comes in occasionally to help with translation.
What inspires your drawings?
I need a base element to trigger my imagination, to come up with the story. That’s often a place or a person – strangers, not acquaintances, because I don’t want to be influenced by what I already know about someone.
What have your main projects in Japan been?
I suppose my favorite project has been my series for Asahi Weekly called “A Wandering Mind”. It ran for one and a half years, just finishing up this past April. It was the first time I was asked to author a series of comics and my first publication as a mangaka, with a story and narration as well as illustrations. To have my comics published in a national newspaper was a real honor for me.
For one year in 2009 I did another series for Asahi Weekly called “The Maiden Voyage”. It’s the story of a young Frenchman who arrives in Japan – it’s a little bit autobiographical. It was interesting for me, because in remembering my first impressions, I could see how far I’ve come in 18 years. I worked for Fukuoka Now for 2 years from 2002~2004, doing illustrations for the Kyushu Headline News section. I took a serious news story and turned it on its head to make a funny cartoon. That’s what I really like – turning things around and showing a side that others may not see. It’s a unique sense of humor – a lot of people don’t understand it at times. At the moment, I work for Casterman Publishing, adapting the manga of Taniguchi Jiro for the French market. Taniguchi is very popular in France and his books sell well. I adore Taniguchi, he is my god. I’m very proud to be working with his manga. I got this opportunity because of my position as a foreigner in Japanese society – I can understand both cultures. I graphically adapt his work for the French reader. I receive the original drawings and the translations, and mix the two so the manga can be easily read by a French person. I have to make certain changes like turning things around so the page reads from left to right – if a car was on the left, it changes to the right etc. If you don’t notice my work when you read the comics, that means it’s well done – so it’s a little bit frustrating like that. I’m also doing 2 pages of games and illustrations for Français, NHK’s monthly French magazine.
Your work is being displayed in an exhibition at the Institut Franco-Japonais du Kyushu in May. What is the theme of the exhibition?
The exhibition is called Vagabondages or “Wanderings” in English. Half of the work on display is from my series “A Wandering Mind” for Asahi Weekly. The inspiration for the series was my wanderings around places in Fukuoka or nearby – I would try to come up with a story about the place and show its poetry. The other half of the exhibit will be new stories about new places.
What are your hobbies?
It’s sad to say, but I spend all my time in my studio. I’m very busy at the moment. I’m a little bit afraid of the future, so I’m conscious of always moving forward, of moving quickly and not losing any time.
That said, I love swimming and go twice a week. I also love soccer. I used to play with my son a lot, but less so these days. He’s 17 years old.
What are your future plans?
I can’t yet call myself an author of comics because, although I’ve published a comic series in Asahi Weekly, I haven’t published a book. That’s my aspiration, my goal. I have an unbelievable amount of respect for comic authors. It really annoys me when people denigrate comics by saying that they are for children. You can say and show everything through comics, like in cinema or literature. An author must master language, drawing, composition, and poetry so the comic flows well. For me, they are truly intelligent people, people that I really respect.
Finally, do you have any message for FN readers?
Well, this is a bit philosophical, but I’ve noticed that no matter what environment one lives in, the only way to develop and integrate is to stay true to yourself, and not to imitate others. I’ve unfortunately seen a lot of foreigners who have tried to imitate the Japanese – whether it be in drawing or other domains – and they lose themselves, they don’t grow as a person.
Stay true to yourself while respecting your environment – that’s the advice I always give my students when they go to France. I tell them not to imitate French people, because they will lose their Japanese charm, and they won’t succeed in trying to imitate the French in any case.
Hometown: Rouen, France
In Japan: 18 years
Identity: Freelance Illustrator
www.atelierdecale.net
Interview and text by Una Geary
Originally published in Fukuoka Now magazine (fn137, May 2010)
