In Bordeaux, at La Diablerie studio, Dualypulp masterfully blends neo-traditional and kawaii styles. Beneath her playful, colorful, and irresistibly cute tattoos often lie much deeper life stories. Trained in fine arts, the 31-year-old artist has built her place in the tattoo world through curiosity, creativity, and a stubbornly upbeat determination. With a real knack for vibrant color work, she’s come a long way, from her early days as a “scratcher” to her appearance on the TV show Tattoo Cover.
Can you tell me the story behind your adorable pseudonym, “Dualypulp”?
I was just starting out when I chose that name. I didn’t yet have a defined graphic identity. I took “Dualy” from Duality by Slipknot — I was a huge fan — and added “Pulp” for Pulp Fiction, one of my favorite films. It just sounded good together. It’s funny, everyone assumes there’s some super cute story behind it, probably because of my kawaii style. When I tell them the truth, they’re like, “Oh… actually, that’s not cute at all!” With my current aesthetic, I probably would have gone for something bolder, maybe something like Sweet Cream.
Tell me about your journey, what made you want to start tattooing?
When I was 19, I was studying fine arts at Bordeaux III University. I wanted to work in a field related to drawing, but at uni they kept telling us that job opportunities were nearly nonexistent, unless we wanted to become teachers.
I discovered tattooing at 17, and I was instantly fascinated. I could draw well, but I thought you had to master every tattoo style to become a pro. So I let that dream go… until I was 20.
A big piece I got on my arm made me see the craft differently.
My best friend also wanted to become a tattoo artist, and that reignited something in me, like, “Wait, that’s what I wanted to do too!” I’d shelved the idea for three years, but her project gave me the push I needed. I bought my first coil machine online — a really crappy dermograph — but that’s how it all began.
What led you to the style that has now become your signature?
As a teenager, I dressed in Sweet Lolita fashion and was already fascinated by that colorful universe. When I started tattooing, I wanted to explore color, and without realizing it, I was already mixing neo-traditional and kawaii elements: my first drawings were a blend of both, a bit naive and less accomplished. At first, I focused mainly on kawaii, but later I went back to my first love, neo-trad, and since then, I’ve never stopped combining the two worlds.
What are your main artistic influences?
When I was 15, I was captivated by the illustrations of Nicoletta Ceccoli, an artist from San Marino. I loved her slightly dark, unsettling world that was still irresistibly cute. I also admired the American artist Mark Ryden for the same reason. In tattooing, I’ve always been very inspired by Kelly McGrath, an American tattooer. She actually follows me on Instagram now, which makes me so happy because I’ve been a fan of her work for ages. She was the first artist whose style really left a mark on me.
Are there any motifs you particularly love to tattoo?
I love tattooing animals and staging them, because I like the narrative aspect. Behind these funny tattoos, there’s often a real story. Together with the client, we build the project through conversation. It’s not always easy — cats and dogs have their habits (eat, sleep…) — so you have to find creative ways to depict them while respecting their personality and, above all, the memory the client has. People always share a funny anecdote, which becomes my starting point for the design.
Aren’t you afraid of becoming “the tattooer of departed pets”?
People often ask me to tattoo animals that have passed away… and even people! Recently, a woman contacted me to honor her father’s memory. She let me share her story on Instagram. Instead of making a sad tattoo, I suggested we started from a happy memory — and I tattooed her a colorful ice cream! I even made a little reel to explain how important it is to celebrate lost loved ones with joyful tattoos.
Tell me about your participation in the TV show Tattoo Cover.
That was in 2021. One morning I got a message on Instagram and thought, “What kind of joke is this?” But no, it really was the Tattoo Cover team inviting me to join the show. Honestly, it was an amazing experience. I love the crossover between two totally different worlds—tattooing and television.
And contrary to what people might think, nothing is scripted: the stories are real, everything’s authentic. They came last July to film at my old studio, La Drôle de Maison. They shot my portrait while I was tattooing one of my clients. And actually, I’m heading back there tomorrow for another shoot!
Beyond that project, what are your current professional goals?
Right now, I’m mainly focusing on large-scale pieces, and I have several in progress. For example, I’m finishing a full leg themed around Batman, done in realism — but of course, I managed to sneak in some pink! (laughs) I’ve also started another leg based on 1990s nostalgia — toys from that era, a box of Miel Pops cereal, a Tamagotchi, a little plush dog…
So far, I’ve finished the lower half; the upper part is still to come.
I’m also reworking a back piece that another tattooer started: there was a Hannya mask, and I added a background with huge pink peonies. And I’ve begun an arm inspired by the video game Bioshock, almost finished, while the other arm will be dedicated to another game universe.
Large pieces take time and patience… Could the current tattoo industry crisis in France slow down demand for that kind of work?
I still have appointments booked, but I won’t lie — we’re all pretty worried. I’m scared, because tattooing is my whole life! I honestly can’t see myself doing anything else. Thankfully, I have a loyal client base — people who’ve followed me since my early days, 11 years ago. They discovered my work on social media, at conventions, or during my guest spots, and they come from all over France.
Where do you see yourself in ten years?
Hopefully still tattooing! It’ll depend on how the industry evolves, of course. I used to think about moving somewhere else, but with the current uncertainty, I’d rather not take that risk. I have my clientele here in Bordeaux, and it’s a great location — easy to reach from Paris or other big cities.
