How illustrator Nina Egli turns everyday life into art

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Nina Egli first made a name for herself with the fashion and jewellery designs of her label Family Affairs. Now, the Zurich-based creative is increasingly working as an illustrator and, thanks to her unique, playful take on everyday life, even counts mega-artist Marina Abramović among her clients.

In an interview with moments, Nina Egli talks about her creative rituals, her daily life, and how her best work comes to life.

Nina, you originally come from fashion, and your illustrations are part of your fashion designs. When did you realize that you wanted to work more and more as an illustrator?

NE: Drawing and painting were a place of retreat for me even as a child – along with reading, my favourite activities. During holidays, our mum would always pack a drawing case with paper and pencils; that was our entertainment for the entire vacation. So this “training” started very early. The fact that I illustrate so much today is thanks to a friend who told me very clearly, “you’re doing this now.” For a long time, I thought I wasn’t allowed to just start “like that,” even though drawing had been part of my life forever.

You’ve been working primarily as an illustrator for about two years now. How has your view of your own work changed since then?

NE: I love my work very much – it is my absolute dream job. At the same time, I try not to rest on my laurels, but to grow with my work and continuously develop further.

Your illustrations feel playful, light, and very close to life. What fascinates you about these small, everyday moments?

NE: Small, everyday moments are my greatest source of inspiration. Sometimes, years later, I still think about a particular meal at a market or a gelateria where I went when I was ten. That is enjoyment and life to me. I consciously try to see small highlights every day and to preserve a sense of lightness – in my work as well as in everyday life. I romanticize my life to a certain extent.

Much of your work feels intuitive. What does a typical working day look like for you?

NE: In order to work intuitively, I need a kind of warm-up. Ideally, I get up very early, think quietly for a bit, with a black tea with milk. During this phase, I allow my thoughts to wander, concepts to emerge, and projects to take shape. When I later sit down at the table, it’s go-time. Then I work very focused and without much hesitation. Often, the concept only emerges once I’ve started. Alongside that, there are of course many organizational tasks: production management for Family Affairs objects – currently, for example, a new pyjama collection – administration, communication.

In earlier conversations, you talked about rituals, breaks, and moments of bliss – from cafés to sea salt baths. What role do these routines play for your creativity?

NE: A black tea with milk in bed before sunrise or a sea salt bath are among my favourite rituals. When I feel good, I am more creative – it’s as simple as that.

You once said that on weekends you consciously distance yourself from performance, Excel spreadsheets, and optimization. Is that still the case?

NE: I think my distance from Excel spreadsheets is also due to the fact that I simply don’t like them very much – it probably wouldn’t hurt to get a bit closer to them. I don’t mind working on weekends, but then preferably creatively and not administratively. And spending time with my loved ones is just as important – including a few rounds of Uno.

You encounter very different work settings: alone in the studio, live at events, during dinners, or at cultural occasions. How do you experience these moments when illustration becomes part of an experience?

NE: Being part of an event as a live illustrator gives me great joy. I work in the background, and when guests leave with a hand-painted portrait and are happy with it, that’s always a highlight. It requires a lot of concentration to capture people in the moment and under time constraints – that’s exactly what I like.

At the end of last year, your work was part of a project in the context of Marina Abramović, realized together with star chef Ralph Schelling. How did that come about?

NE: The private bank that organized the dinner became aware of me through my collaboration with Ralph Schelling and contacted me. Ralph’s menu was complemented by Marina Abramović’s words and thus became part of her art. Even though Marina is an absolute legend, it was important to me to remain calm and focus entirely on the work. I immersed myself in her clear visual language and tried to give her words space.

Your works are allowed to be humorous, nonchalant, and imperfect. What does this freedom give back to you?

NE: It allows me to have a sense of humour about things, to see the beauty in everyday life, and not to take everything too seriously. My work reminds me that aesthetics, joy, and imperfection are allowed to have space.

Your work is very visible today, yet you emphasize how important offline time is to you. How do you reconcile these two polar opposites?

NE: The core of my work is offline – drawing and painting. I appreciate that very much. Visibility is part of it, and I enjoy sharing my work, but I have to consciously manage my Instagram consumption. I am very visually open, and when I start singing along to reel music, I know: it’s time for a break. That’s why I regularly delete Instagram from my smartphone for a few days.

When you look ahead: what are you most looking forward to right now as an illustrator – and as a person?

NE: To simple and beautiful things: discovering a favourite café in a new city, arranging flowers, setting the table. Markets, new music, surprises.
As an illustrator, I look forward to every new project. Being able to accompany special life moments for my clients is something I experience as a great privilege.