"Never go on stage with children or dogs” is a common rule in the theater world. The design world equivalent is, "never follow james victore as a guest speaker.” I made this mistake once, and i felt like mister rogers next to che guevara. James transcends the easy classification of designer. He is an unrepentant communicator and activist. His work is strong, humorous, and unforgiving. This courage is rare in a time when alternative points of view are positioned as “unpatriotic.” James victore clarifies the idea of personal vision and perspective, and reminds us of the importance of communication in a pluralistic society.

SA: I spoke at Portfolio Center recently, a month after you were there. Before the lecture began, one of the students asked, “Do all designers swear a lot?” What did you say to those kids? Remember this is a prime-time magazine.

JV: Swearing for me is like punctuation.

SA: I know we’ve discussed avoiding the design-star mill questions, so I thought we’d hit it right away. This “rock star” idea seems to be floating around the design world these days: Victore’s a rock star, Sagmeister’s a rock star, Scher’s a rock star. I don’t know where that puts Mick Jagger in the rock-star world. So, what’s it like being a rock star?

JV:I think it must be lots of fun, but all the crack has left my brain a bit addled. Ask Stefan.

SA: That’s funny, Stefan told me to ask you. Now for an abrupt change of topic: We live in a time when the world is painted very black and white—you’re good or evil, you’re with us or against us. You clearly have no problem taking a clear stand on an issue that may not be the polite or politically correct approach. Why risk the criticism?

JV:First of all, there is no criticism. I think most folks are afraid of the perception of criticism, so they take no chances. I’m very spoiled. I work with smart, sexy, brave clients who want to make powerful statements, and I get to be myself in the process. I don’t have to disguise my voice just because I have a commercial client. I am not a politician, I don’t need or even want to make everyone happy. This allows me the freedom to make work that comes from Victore and not some empty vessel.

SA: Have you always been interested in work that is political? And I mean political in the cultural and societal way, not the Democrats and Republicans.

JV:You can’t change anything by riding the fence. I don’t make many real politically charged works. Not as much as I’d like, but I do try to make my everyday work charged or energized or pregnant with meaning. Humans are curious and interesting and diverse, yet we tend to call them a “market.” I think that’s not only atrocious, it’s just rude. I want to be a storyteller, I try to envision more of a one-on-one scenario with a viewer and my work. With my subway posters for the School of Visual Arts I try to think what would really inspire or entertain someone riding the train. How can I make my work a gift to them? Thinking like this means that the work’s about me and my opinions, but it has to be. This is about connecting to real people. I don’t see enough designers putting themselves into the work.

SA: How does this attitude translate to different clients, from SVA to Aveda?

JV:It doesn’t have to. That’s the interesting part. My clients work with me because of our alignment. We share the same goals. My studio wants comrades, not clients. Whether it’s a large company, like Aveda, that has a social/environmental agenda, or an illustration for The New York Times, I like to try to find that tiny kernel of truth that makes it all interesting. James Joyce wrote, “In the particular lies the universal.” Which means that the more authentic and genuine you become in your expression, the more others can relate to it. So, if you want love, attention, and appreciation, you need to give love, attention, and appreciation. You need to put it in the work. I think this is what separates great work from the herd. Working with the truth, and not just a trite design motif like CSA clip art takes a bit more effort, but also makes my work and life worth it. And I have found it also excites other people.

SA: When you’re out there judging competitions, or just seeing design in general, what do you think about the current state of the industry?

JV:This conversation turns to the idea of mediocrity run amok in our business. I know that in the end business rules, but business does not have to be so butt ugly. It only takes a little effort. It’s not as if that’s what the public wants. It’s what Marketing wants. Marketing seems to run on fear and self-doubt. I’m sure the public would love something better, but nobody gives them the chance, nobody gives them the benefit of the doubt. We constantly second-guess the public and end up pushing the safe status quo. When I started in this business I thought— rather naively—that if I worked really hard at developing my craft and my ability to tell a story, I would have clients flocking to me. It would seem to be a rational thought, no?

ABOVE: “TRUTH” spread from the 2003 Portfolio Center Catalog