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“Design Together a Meaningful Art of Living” is the opening statement on your website. Could you elaborate on the meaning and philosophy behind that statement?

I define a meaningful art of living as a set of careful gestures, forms and emotions in everyday life in its most humble way. An object must « make way » in our daily lives, and my studio distinguishes itself by its design based on simplicity, following the state of mind of the clients and partners. The relevance of a product, furniture, or interior lies in its capacity to welcome the user and thus become meaningful.

Materials and craftsmanship seem to play a vital role in your process and work. Is it based simply on your love for both or a rebellion on a larger scale towards consumerism?

Materials play an essential role in design today. By working intelligently, with humility and by seeking the durability of these elements, we will limit our impact on the environment. Craft is a production system whose values I share. However, I don’t see it as an opposition to large-scale consumption. As a designer, one of the current issues is precisely to accompany these large-scale production systems towards new perspectives, more respectful of our environment and societal issues.

Your series of artworks for Frameworks is titled “Ordinary Beauty”. What does ordinary beauty mean to you?

The concept of ordinary beauty is the extraordinary aesthetic qualities of a form, a matter, a texture of an object from everyday life. These things are ordinary in the sense that we pay little or no attention to them. Ordinary beauty is a reminder to notice the subtle beauty of these elements that shape our daily life.

You have worked in Denmark for a couple of years, and during that stay, you worked together with Japanese companies. What does this international inspiration mean to you and your work?

Our family has always had an international approach, open to other cultures and other ways of thinking about the world. During my studies, I wanted to pursue this approach by working with a designer in Amsterdam. I also lived and worked three months in Kyoto, Japan, with artisans and then worked for a Danish design and architecture studio. This international approach allowed me to build a strong vision of design. Today, I pursue this global approach because it is stimulating, challenging, and necessary in a field like design with no borders or limits.

You are relatively young and in the early stages of your professional career, in a world that constantly presents us with a growing number of designs, products and ideas. Does the world (still) need all these new products, and what is your perspective on the path you have chosen?

It is simply necessary to remember that companies, men and women, manufacture, transport, and market these products and make a livelihood from all of this. If we look at history, man does not need many new products to live, but our systems and societies still need them to exist. Should we go against that?
The studio celebrates a modest approach to the design of an object, a respect for the material and its transformation, and the necessity for long-lasting products or spaces because it is the key to sustainability. In other words, an art of living that seeks to make sense with little.

Your most recent work is a clock made from a clockwork and a cork bowl by Jasper Morrison. What is the idea and story behind re-using existing (high-end) design objects?

This project is part of an auction to benefit the French association La Source, which organizes artistic actions for young people in difficult circumstances. Each year, a selected group of designers are invited to reinterpret a piece produced by Vitra, a partner of the association. This year, Jasper Morrison’s Cork Bowls were in the spotlight. This transformation project aligns with the studio’s approach where it questions materials through simple transformations to achieve everyday objects. Here, the addition of the clockwork followed by a surface treatment – the cork is burned then lacquered – brings a new dimension that is both poetic and functional.

If you could give the older generations a piece of advice or two (and some they would actually listen to and comply with!), what would it be?

The world is changing, and it seems more and more difficult for the different generations to find their place in our society. To trust the dynamic and motivated young people, and to work with them, is what I would like to say to the older generations. We can work together. I would also like to take this opportunity to thank those of the older generations who have believed in me since the beginning of my career.