Ilian Rachov by Viviana Puello

How would you define your artistic style? Are there specific elements or principles that you always incorporate into your work to make it distinctively “Ilian Rachov”?

Being a self-taught artist, I’ve learned everything I know from the old masters. The different techniques—from egg tempera, oil colors, oil colors with velature (the transparent colors used by the great masters to give depth and very soft shadows), gilding with gold leaf, and priming wooden panels or linen canvases—are the most significant part of my art. This is the foundation that everyone who wants to make art at a professional level must understand. Along with this “historical” way of learning and creating art, I am also a person of today. Unconsciously, the times I live in have influenced my art and my mind. So, I define my style as a mix of Baroque and Rock, something like “Baroque & Roll”—Baroque for the extremely perfected technique, and Rock & Roll for the contemporary outlook.

As a Bulgarian artist who has made a significant impact on the international stage, how do you navigate your cultural identity in your work? Do you feel that your heritage informs your art, and if so, how?

The fact that I am a native Bulgarian is probably reflected in each of my works because it’s part of me. At the same time, I have been living and working in Italy for over 25 years, and that has had a significant impact on my artistic vision. Every day, I see original paintings by the masters of the 16th and 17th centuries, and I am still striving for that same level of perfection in my own work.

Your work often bridges the gap between traditional and modern art. How do you maintain a balance between honoring historical artistic traditions while still pushing the boundaries of innovation in your designs?

Yes, it’s true. I try to “translate” many traditional artworks into a modern context, but I do it all by hand, not through Photoshop or AI. I believe we are slowly losing our talents. Having talent means nothing if you don’t exercise it. By making mistakes, we learn more, and sometimes those mistakes become the beginning of a masterpiece. I think innovation is a great thing, as long as it’s genuine innovation and not fake, which happens when people are unable to do something better. As you see, 90% of contemporary “artists” are not real artists but more about commercial marketing, and sometimes even money laundering.

What inspires you the most in your creative process? Are there specific themes, places, or experiences that fuel your imagination?

I have always been inspired by beauty, the magnificence of harmony, and the power of the message. Of course, as an artist who has worked for many years on commission, many of my works are inspired by what my clients want. They choose me because of my style, technique, and particularly my color harmony, but the subjects are what they desire. Many people ask why I create so much religious art. It’s because my clients request it. In the same way, the old masters created art as a profession. All the paintings we see in museums were made because someone commissioned them. The great masters, like Rubens, Raphael, and Michelangelo, were very wealthy during their lifetimes.

Are there any artists, either from history or contemporary times, who have significantly influenced your work? How have they shaped your approach to art?

Yes, many artists have influenced me, such as Leonardo da Vinci, Rubens, Van Dyck, Raphael, Simone Martini, Boris Vallejo, Ulisse Sartini, Zachary Zograf, and Jim Lee. I’m a simple realist, so when I see someone better than me, I start learning from them, and I’m still learning from these great masters.

Working with a global fashion icon like Versace is a remarkable achievement. Could you share how this collaboration came about and how it influenced your work and artistic identity?

I’m still freelancing with many fashion companies, both famous and lesser-known. Of course, Versace is one of the most famous collaborations I’ve had. In early 2003, I received a call from Versace’s headquarters asking if I was available to create some Baroque pattern designs for their new Home Collection. At first, I thought it was a joke and didn’t attend the appointment, but they called me again the next day asking why I hadn’t come. That’s when I realized it was real. My first design was a logo with a Gothic “V” (for Versace) mixed with the head of Medusa, and it was a big success because, at the time, the company was struggling after the death of Gianni Versace. After that, I created many pattern designs for them, which are displayed in their main boutiques worldwide. Creating for Versace was an inspiring moment for me because of the huge visibility—famous singers, actors, and rock stars wear Versace, including Madonna, Christina Aguilera, Taylor Swift, and Beyoncé. Seeing my designs on such icons is a satisfaction for any artist. However, after some internal changes within the company, things became less reliable in terms of payments, so I now prefer working with smaller companies like Silvio Fiorello, where I have direct contact with the owner. We work together and decide how things will be promoted.

Every artist faces challenges in their career. Could you talk about some of the obstacles you’ve encountered in your artistic journey and how you overcame them? What has been your proudest moment so far?

I’ll start with the second question. My proudest moment is now because I’m still alive and have survived doing what I love—art. The challenges in an artist’s life are many. The most famous challenge is how to pay the rent, buy colors, and cover life’s expenses. We don’t have a guaranteed minimum salary every month, so we must find a way. In Italy, for example, there isn’t a structured management system for artists like there is in America. Here, we have to manage on our own without institutional help. Did you know that in Italy, the profession of “artist” doesn’t officially exist? They are considered artisans, which is insane when you think about the generations of old masters who made Italy famous around the world.

Is there a particular message or emotion you aim to convey through your art? How do you hope your audience will interpret or connect with your work?

Yes, I always aim to convey beauty and harmony. I’ve studied chromotherapy, the science of color, and how specific color combinations can heal people’s psyches. Mixed with the beauty of the subjects and good technique, my message is: Beauty and harmony in everything will save the world.

Looking ahead, what are some of the projects or artistic endeavors you’re most excited about? Are there any new directions you’re considering exploring in your art?

I’ve received some very exciting proposals to design a fashion collection for a young brand. It’s always nice to work with young people because they are our future. Of course, I’m also preparing for an art exhibition in Rome on November 1st and continuing to work on commissions from private clients. Some of these clients have connected with me through social media platforms like Instagram and Facebook. I haven’t lost my optimism or enthusiasm for any new project.