Belle Époque Paris bottles the gaslit cabaret night of Montmartre: cancan rose-pink and gaslight-gold ink floating on warm near-black, drawn with the flowing whiplash line of French Art Nouveau. It is the world of Toulouse-Lautrec's Moulin Rouge bills and Chéret's joyous affiches — flat litho colour fields, framed poster panels, ornamental script.

Where Vienna chased the grid, Paris chased the curve. This system keeps the lithograph's bold flat colour and crayon grain, never softening into pastel or photographic realism. Every surface reads like a freshly pasted hoarding poster, glowing under the gas lamps of a café-concert.