Antoine Blondin, L’Équipe’s legendary correspondent on the roads of the Grande Boucle, once confessed that he wrote under the Tour de France’s own dictation. It is a striking image, one that dissolves the distance between narrator and subject until the two become inseparable. Few sporting events possess such power. Fewer still can so completely absorb those who attempt to tell their story.

Looking at Fette’s illustrations, one senses much the same phenomenon at work. The visual universe of the Ecuadorian architect, who has lived on two wheels since childhood, feels like a natural extension of the narrative unfolding in every stage, every breakaway, every tactical decision, and every emotional and physical journey undertaken by the very human superheroes who animate this legendary race.

As the 2026 Tour reaches its traditional finale beneath the light of the Champs-Élysées, we slip into the wheel of one of cycling’s most distinctive artistic voices. What follows is a journey shaped by intuition, inspiration, singular creative instincts and, above all, a profound understanding: that every moment of the Grande Boucle, like every unassuming hour spent in the saddle, contains something of life itself, in all its irony as much as its grandeur.

How did cycling first enter your life? What made you fall in love with the sport, and what are your earliest memories of encountering it?

“The bicycle was always part of my home. My brother and I grew up surrounded by BMX and mountain bikes, so it never felt like anything extraordinary: it was simply how we had fun. The funny thing is that I never sat down to watch the Tour de France or kept track of who had won a race. My relationship with the bicycle came long before my relationship with professional cycling. I only got into road cycling later in life, and I loved it from the very first ride. Not because I wanted to race, but because I genuinely enjoyed riding. In fact, I’ve only entered two races… and I finished last in both (he laughs ed.). That’s when I realized I definitely wasn’t born to compete.

What I did discover was that I love everything that surrounds the bicycle. Going out without a destination, getting lost on quiet roads, stopping for a coffee, chatting during a ride, or simply enjoying the silence while pedaling. It’s a sport that demands a lot from you, but at the same time gives you a kind of peace that’s hard to explain. I think that’s why I connected so deeply with cycling. Never through competition, but through the stories that happen on a bicycle. And in the end, that’s exactly what I try to capture in my illustrations today.”

What about drawing and illustration? When did they first become part of your imagination, and later, your creative expression?

“I think I’ve been drawing for as long as I can remember. I was always doodling on anything I could find. I never really thought, “I want to become an illustrator.” It was simply something I loved doing. Over the years, I realized that drawing is the most natural way for me to communicate. There are things I struggle to put into words, but they come out effortlessly in an illustration. It also allows me to bring together everything I love: design, architecture, painting, music, film… and now, cycling.

When I started Fette, I wasn’t trying to make drawings about bicycles. What I really wanted was to tell stories. Cycling just happened to become the perfect stage because it’s a sport full of emotion, unforgettable characters, and incredible moments. A race can be epic, funny, absurd, or deeply human: and that’s what inspires me. I think that’s why my illustrations almost always have a touch of humor or irony. I love it when someone looks at one of them, smiles or laughs, and then starts discovering the little hidden details. If an illustration makes someone stop and look at it for a few minutes instead of just scrolling past, then I feel like it has done its job.”

You’re originally from Ecuador (where, if I’m not mistaken, you’re still based) and have a professional background in architecture. How have these two elements—your cultural roots and your academic training—shaped the way you understand both cycling and illustration?

“A lot, although probably not in the most obvious way. Architecture didn’t teach me how to draw better: it taught me how to think. It’s a discipline deeply connected to art and design, and I think the biggest lesson it gave me was the ability to abstract ideas, simplify them, and pay attention to the smallest details. Before I start an illustration, I always try to understand the essence of the story and figure out the simplest way to tell it. That way of thinking comes directly from architecture. And Ecuador shaped the way I see the world. It’s an incredible country, full of contrasts, where sport was always part of my childhood. I grew up practicing and enjoying many different sports, although road cycling came into my life much later. Maybe that’s why I never approached it through the traditional lens of someone who grew up watching the great European races. I discovered it through curiosity and pure enjoyment.

I also think Ecuador makes you see life a little differently. We don’t really have the dramatic changes between seasons that many other countries experience. Life here feels much more constant, and I think that influences the way you observe the world and the way you experience time. I had never really thought about it before, but looking back, I think that perspective has naturally found its way into my work. In the end, Fette is the result of those two worlds. On one hand, a way of thinking shaped by architecture: always trying to simplify without losing depth. On the other, a perspective shaped by Ecuador, which often allows me to notice stories and details that someone who has spent their whole life immersed in European cycling culture might overlook.”

Let’s talk about the Fette phenomenon. Where did this kaleidoscope of cycling-inspired imagery come from? As you’ve mentioned in previous interviews, is it true that Richard Carapaz’s Giro d’Italia victory and your triathlete partner both played a role in the early development of this artistic project?

“Fette was born during the pandemic as a response to the need to keep creating. Like so many people, lockdown pushed me to find new ways to stay active, and drawing became that space for me. Everything happened at the same time: cycling experienced a huge boom during the pandemic, Richard Carapaz won the Giro d’Italia, and, thanks to my former partner, I started watching races with a completely different perspective. I had always been passionate about bicycles, but more from the point of view of riding them than following professional racing. It was during that period that I began to discover everything happening behind a race: the stories, the tactics, the personalities, and the emotions.

From the very beginning, I knew I didn’t want to create technical illustrations or simply depict race results. What I wanted was to show the human side of sport. At the end of the day, a race isn’t just about who wins; it’s full of decisions, mistakes, sacrifices, humor, frustration, and joy. I think that’s the essence of Fette: using cycling as a language to tell human stories. Because in the end, those emotions don’t belong only to cycling: they belong to sport itself, and they’re what allow us to connect with it.”

From across the ocean, people often underestimate the cultural significance of cycling in a country like Ecuador, which has become one of the sport’s emerging heartlands. Could you tell us what cycling represents for your country? What images or metaphors would you use to best describe that relationship?

“Cycling has always existed in Ecuador, but I think we’re only now beginning to build a true cycling identity. The change over the last few years has been remarkable. You see more people training, more people riding simply because they love it, and, above all, more Ecuadorian riders making their mark in the ProTour. It’s no longer about having just one standout rider: Ecuador is becoming a country that the cycling world genuinely respects. That has naturally helped grow the fanbase as well. More people are following the races, understanding the sport, and feeling part of it. I think we’re still in a period of growth, especially at the amateur level, where there’s still a long way to go. But when I compare what it was like ten years ago to what I see today, the difference is huge.

Ecuador is still a football country, and I don’t think that’s going to change anytime soon. But I would love to see people open up to other sports as well. We have athletes achieving incredible things on the world stage—not only in cycling, but in many disciplines—and I think they deserve the same attention and support. Hopefully, little by little, we’ll become a country that celebrates sport in a broader way. I like to think that Ecuador is just beginning to write its first great chapters in the history of cycling. And that’s what makes this moment feel so exciting.”

Over the years, what kind of artistic philosophy have you developed? How do you choose your subjects, and what guides the way you compose the sequences and narrative details in your illustrations?

“Almost every illustration starts the same way: by watching a race. As I’m watching, I begin connecting what’s happening on the road with other things that inspire me. It could be a movie, a song, a famous painting, a design campaign, a meme, or even something completely unrelated to cycling that’s happening at that moment. That’s usually where the idea appears. From there, I try to build a story. I like my illustrations to have humor, irony, emotion, and small hidden details. Yes, we often make fun of riders or situations that happen during races, but always from a good place. Never to ridicule anyone, but to celebrate the human side of the sport. One of the nicest surprises has been discovering that many of the riders themselves have exactly the same sense of humor and genuinely enjoy seeing themselves portrayed that way. That’s been incredible.

What probably guides my work the most is the constant search to do something different. I try not to repeat myself or create the illustration that everyone expects. I’m always asking myself if there’s another way to tell the same story, or if there’s a perspective that no one has explored yet. I also like to hide little messages and details inside my illustrations. Some are references, some are inside jokes, and others have a very personal meaning. The funny thing is that, over time, I often look back at an illustration and rediscover details I had completely forgotten about. It’s almost as if each piece preserves a small fragment of the moment in which it was created. And when someone takes the time to really look at it and uncovers one of those hidden messages, I feel like the illustration comes to life again. In the end, I like an illustration to evoke several emotions at once. I want it to surprise you first, then make you smile, and if you come back to it later, hopefully you’ll discover something new. I think that sense of discovery—and that little conversation between the illustration and the viewer—is a big part of Fette’s identity.”

You’re also an active cyclist yourself. What have riding and life on two wheels taught you? How much has cycling shaped your identity? And since we believe every sport is an art form in its own right, do you see the act of cycling itself as a form of art?

“Everything! That’s probably the easiest question in the whole interview. The bicycle has taught me patience, discipline, how to make decisions, how to deal with failure, how to enjoy the journey, and that many of the best things in life only come after you’ve suffered a little. Those are lessons that help you on the bike, but they also help you in life. More than influencing my art, I think the bicycle has shaped my life. Today, almost everything revolves around it. I ride every day, there are more bikes than furniture in my house, and many of the most important people I’ve met came into my life because of cycling. Even many of my architecture and illustration projects were born through connections I made while riding. It’s hard to think of an important part of my life where the bicycle hasn’t been present.

And yes, I do think riding a bike is a form of art. Everyone has their own way of experiencing it. Some people race, some explore, some ride to clear their minds, and others simply use it to get to work. We’re all doing the same thing, but each of us is telling a different story. But there’s one thing I’m completely sure about: everyone who has ever ridden a bike has imagined, even if only for a few seconds, crossing the finish line first and raising their arms after winning a stage of the Tour de France. I think that ability to make us dream—even when we’re riding alone on an empty road—is one of the most beautiful things about cycling.”

How does it feel to have become such a respected voice within the cycling world, with a global community of people who appreciate your work and share your vision of the sport’s greatest races and most iconic riders? At the same time, how have you experienced—and how are you experiencing—your collaborations with brands and institutions?

“I still find it hard to see it that way. In fact, answering this interview already feels pretty surreal to me. I’m sitting here in Ecuador, talking to someone on the other side of the world who wants to hear my story because of a few drawings about cycling. If someone had told me a few years ago that this would happen, I probably wouldn’t have believed them. I think the most valuable thing Fette has given me is the community. Beyond the work—which has already been incredible because I now get to do this for a living—the thing that truly changed my life has been the people. I’ve met riders, designers, photographers, journalists, brands… but above all, I’ve made friends. People I probably never would have met if I hadn’t started drawing during the pandemic.

It also made me realize that an illustration can be much more than just a beautiful image. It can start a conversation, create a friendship, or make someone on the other side of the world connect with an idea. I think that was always the real purpose of Fette: telling stories in my own way and discovering that other people felt the same. And working with brands and teams has been incredible. The best part is that no one has ever asked me to stop being Fette. If anything, they usually come to me because they want that different way of telling stories. That makes me believe there’s still room to do things in a more human and creative way. And if any brands happen to be reading this interview… first of all, thank you. And secondly… feel free to call me more often. I promise I’ll answer.”

Let’s talk about the Tour de France. What does the Grand Boucle evoke in you emotionally and intellectually? And what has particularly stood out to you about the 2026 edition?

“The Tour de France is, without a doubt, my favorite time of the year. During those three weeks, everything switches into Tour mode. I’m watching every stage, thinking of new ideas, drawing, and wondering what’s going to happen the next day. It’s impossible not to get caught up in that energy. What I love most is that every stage tells a different story. Sometimes it comes from an incredible victory, and other times from a small gesture that almost nobody noticed. That’s where many of my illustrations begin.

This year’s Tour really impressed me with the level of racing and the incredible speed. It feels like cycling keeps evolving every single season. I also loved seeing new faces and new names challenging the established stars: that’s a great sign that the sport continues to grow. And yes, I was a little disappointed that we didn’t get to see Jonas and Pogi battle all the way to Paris. I think everyone was looking forward to that rivalry playing out until the end. But that’s also the magic of the Tour: you never really know what’s going to happen, and somehow it always ends up giving you a story you weren’t expecting.”

Which Tour de France-inspired works, both past and present, hold a special place in your heart and why?

“There are so many that it’s impossible to choose just one, but a few of them marked important moments for Fette. The illustration of Chris Froome running up the mountain was one of the first pieces that really introduced my work to a wider audience, so it will always have a special place for me. I also have a lot of affection for the illustrations of Wout van Aert during the 2022 Tour, when Jumbo-Visma managed to put Pogačar under real pressure. Those were incredible days to draw. The same goes for all the battles between Jonas and Pogi. I truly believe we’re witnessing one of the great rivalries in cycling history, and being able to tell that story as it’s happening feels like a privilege. Another one I’ll always remember is Mathieu van der Poel finally wearing the yellow jersey. It was one of those moments everyone had been waiting for.

But some of the stories I enjoy illustrating the most aren’t necessarily the victories. They’re the ones that reveal who the riders really are: a bad day, a teammate sacrificing everything for another rider, or someone finally winning a prize or jersey that seemed impossible just a few days before. I love those moments because they remind us that, behind the athletes, there are people. And I think that’s the side of cycling that deserves to be celebrated just as much. In the end, my favorite illustrations are usually the ones filled with small details. I like hiding little references and messages that aren’t obvious at first glance. The funny thing is that when I come back to those illustrations later, already knowing how the story ended or how that rider’s journey evolved, I see them differently. It’s like rewatching a stage you already know: you always notice something new. And I think that’s my favorite kind of illustration: the one that makes you come back for a second look.”

Which current riders stimulate your imagination the most? And which legends remain your eternal muses?

“I think the riders who appear most often in my work are Pogačar, Wout van Aert, Mathieu van der Poel, Jonas Vingegaard, Remco Evenepoel, Primož Roglič, Egan Bernal, Isaac del Toro, and on the women’s side, Demi Vollering, Marianne Vos, Elisa Longo Borghini, Pauline Ferrand-Prévot, and Katarzyna ‘Kasia’ Niewiadoma. Each of them has such a distinct personality that it’s easy to build stories around them. 

Pogačar rides like he doesn’t know what limits are. Van der Poel and Wout are pure entertainment: whenever they’re in a race, something memorable is bound to happen. Jonas has this incredible calmness that suddenly turns into explosive attacks when you least expect it. Remco has a strong personality and races in a way that always gets people talking. Roglič has an incredible ability to come back, no matter what happens. Egan means so much to Latin America and will always be special because of everything he’s overcome. And Isaac del Toro gives you the feeling that you’re witnessing the beginning of something very special.

On the women’s side, I love illustrating Demi Vollering, Marianne Vos, Elisa Longo Borghini, Pauline Ferrand-Prévot, and Kasia Niewiadoma. Each of them has a completely different way of racing and expressing emotion, which means there’s always an interesting story waiting to be told. And when it comes to legends, Marco Pantani will always be at the top of my list. Beyond his results, he had a way of racing that felt like it belonged to another era. It was impossible to take your eyes off him.”