Anaïs Chabane is a Paris-born tattoo artist and model based in Los Angeles. Tattoo Life says she has focused on ornamental, jewellery-style tattooing for more than ten years; most of her own ink is black, with selected colour on her legs and right wrist. Her tattoos bring that professional style across her neck, chest, arms, torso and legs.

She has discussed North African heritage and travel in Morocco and India among the influences on her eye. Reporting also describes Arabic pattern, henna and jewellery as part of the visual vocabulary. The photographs show the placements and linework; they don’t assign a private meaning to every mark.

Anaïs Chabane’s ornamental practice is rooted in body jewellery

Chabane’s designs follow the body’s contours. Her neck work frames the throat, the chest pieces spread from a central line, and the arm tattoos wrap around the limbs. Points, scallops, leaves and petals repeat in different areas, giving some designs the look of adornment without copying a literal chain or necklace.

Tattoo Life describes her work as influenced by jewellery, lace and henna. The same report notes that colour appears on her legs and right wrist, while black remains the dominant palette. Across the photos, the density changes from one placement to another rather than staying uniform.

Her neck tattoo creates a dark collar around the throat

A dense black design wraps beneath Chabane’s jaw and across the front of her throat. Its darker centre is edged with fine repeated marks that extend toward the sides, making a broad collar shape visible in the portrait.

The tattoo reaches toward the upper chest, where lighter lines continue below it. Alongside small face and hand marks, it creates a transition from the throat to the rest of the body work instead of reading as a single isolated symbol.

Her chest piece uses symmetry, flowers and a central ornamental drop

In the frontal portrait, a narrow ornamental form runs down the centre of the chest. Flowers and leaf-like shapes spread toward the shoulders, bordered by curved lines and pointed forms. Dots mark the changes between heavier and finer sections, and a smaller element continues below the main design.

The layout is close to symmetrical and follows the body like a pendant or collar. It uses the visual language of jewellery, but remains a tattoo rather than a copy of one particular piece.

Her forearms and hands carry smaller ornamental panels

Fine black lines cover the forearms in floral shapes, narrow borders and compact motifs. Some areas are dense with overlapping petals and leaves; elsewhere, thin outlines leave more open skin. A flower-shaped piece near the upper arm contrasts with the smaller marks at the wrists and hands.

Several designs turn around the forearm and bend near the wrist, so their appearance changes with the angle of the arm. The close portrait makes those lines and placements easier to distinguish than a distant view.

Her leg tattoos hold the clearest examples of larger decorative colour

Tattoo Life notes colour on Chabane’s legs and right wrist. In the available portrait, larger designs rise from the hip and upper leg, using dark outlines and shaded forms. They occupy more space than the fine marks at her hands and give the collection a different scale.

The lower-body work includes both heavier black areas and finer ornamental lines. Brighter colour appears selectively within the mostly black collection rather than replacing its overall style.

Her shoulder and upper-arm tattoos mix floral and illustrative forms

Floral details, dark ornamental shapes and illustrative figures sit close together from the shoulder toward the elbow. A larger form anchors the upper arm, while smaller flowers, leaves and symbols fill nearby spaces. Some areas are solid or densely shaded; others keep open interiors and finer lines.

The portrait also shows the neck and chest work above and more arm tattoos below. Repeated line weights and floral details link the areas, although the pieces remain visible as separate designs.

Her hands and fingers repeat the collection’s jewellery-like details

The boxing portrait isolates small ornamental marks along Chabane’s fingers, near the joints and across the backs of her hands. Some are fine-line shapes, with lettering-like details and miniature decorations between them. Their placement recalls rings and jewellery more than a large illustrative panel.

The hand marks are narrower than the forearm work. As the design moves toward the fingers, the larger floral panels give way to separate shapes while keeping a similar palette and line quality.

Her torso tattoos combine central ornaments with side details

The seated portrait brings the neck, chest, sternum, ribs and waist into one view. A dark central image sits below the chest ornament, with smaller marks continuing toward the sides. Open skin remains between these areas, so the separate edges are still visible.

The photograph also shows arms and upper legs, making clear how the torso pieces fit into a wider arrangement. Symmetry is strongest near the centre; floral details and smaller ornaments appear around the edges.

Ornamental continuity defines the collection’s visual signature

Across the photos, Chabane’s tattoos are linked by linework and placement more than by one repeated subject. Fine black outlines, flowers, geometric borders and dots recur on the neck, chest, hands, arms and legs. Some pieces are delicate; others use heavier black areas or selected colour.

Tattoo Life’s description of jewellery, lace and henna influences fits the use of adornment and body-following shapes. Chabane’s interviews provide artistic context, while the photographs document the designs without assigning meanings she hasn’t stated.

Sources: Tattoo Life’s profile of Anaïs Chabane; Inked Magazine’s profile; Naluda Magazine’s interview; Tattoo Styles video on Anaïs Chabane.