As a soldier in the French Army in World War I, Mare led the development of military camouflage, painting artillery using Cubism techniques to deceive the eye.

His ink and watercolour painting Le canon de 280 camouflé (The Camouflaged 280 Gun) shows the close interplay of abstract art and military application at that time.

He designed pavilions, textiles and furnishings for the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925. and interiors of residences and the French ocean liners.

[3] At the 1912 Salon d'Automne he and Raymond Duchamp-Villon, Marcel Duchamp, Jean Metzinger, Albert Gleizes, Marie Laurencin, Fernand Léger and Roger de La Fresnaye collaborated in the design of the La Maison Cubiste, an architectural installation designed to display cubist paintings.

Mare designed the colorful wallpaper, which featured stylized roses and floral patterns, along with upholstery, furniture and carpets with similar motifs.

Mare applied the principles of disruptive coloration camouflage using forms derived from Cubism: bands of colour juxtaposed to prevent the eye from recognizing the shape of a gun barrel, for example.

[4] Mare and Süe worked together for eight years, making some fifty different architectural ensembles, including interiors for the French Embassies in Warsaw and Washington, for the house of perfume manufacturer Jean Patou, and the grand salon of the ocean liner Ile-de-France.

The Dining Room for Paul Girod (1920–21), (now in the Museum of Decorative Arts in Paris) was typical of the Mare and Süe Art Deco style; it featured exquisite craftsmanship and extremely expensive materials; the walls were covered with rosewood and mahogany, and the lighting fixtures were set in a ceiling decorated with gold leaf.

In 1927 André Mare decided to leave the Compagnie des Arts Français for health reasons, and instead devoted himself exclusively to painting.