« Dangerous Liaisons »

“I launched my latest collection, entitled ‘ Dangerous Liaisons ,’ inspired by the book and the film. It was the book that first inspired me, then the Stephen Frears film, with Glenn Close and John Malkovich, which I still remember, which I watched several times starting when I was 12 or 13. It’s truly an 18th-century fantasy. What particularly struck me was the film’s aesthetic. I think it’s one of the most beautiful period recreations, and the atmosphere it evokes—the salons, this idea of ​​a somewhat idealized luxury, a vision of the French Art de vivre. But it’s a fantasy, of course, an aesthetic, highly idealized vision of that era. The quality of the costumes fascinated me, like in ‘ Barry Lyndon ,’ a true work of art. And this atmosphere inspired the entire collection I designed.” The crystal chandeliers, the interplay of reflections, that soft, flattering light that evokes that era for me. There's also the influence of French formal gardens, another subject that deeply fascinates me. Everything related to the order of the design, to what is well-drawn. I'm not a very organic person; I'm more drawn to symmetry, balance, and precision. These are concepts that greatly concern me. And this period in France, for me, is one of its golden ages, because they achieved a kind of perfection in these areas. Finally, there's this restraint in the aesthetic; it's not Baroque, it's Classical, in the sense that it was perceived at that time. There's a kind of moderation in all of this, a search for balance and proportion that particularly resonates with me.

Cecile Heart Charm

Tourvel Pendant

Ancient diamonds

“This latest collection is dedicated to antique diamonds . It’s both an aesthetic and ethical choice. First and foremost, I find these diamonds truly magnificent. Unlike modern stones, they are more imperfect, more irregular, hand-cut without striving for absolute perfection. This irregularity gives them a particular brilliance, a muted light, almost like candlelight, which creates a unique emotion. In addition to their beauty, these diamonds come from a responsible source : they are unset stones, bought back from diamond dealers, which avoids mining and the environmental impact of lab-grown diamonds . I love this traditional approach where stones are reclaimed and given a new life. This choice presents challenges, as these diamonds don’t have standardized shapes, which complicates production. But that’s precisely what makes them so fascinating. Their history, their light, and their imperfection are at the heart of my collection.” These are stones that have already lived, that have already been worn, and it is this memory that I seek to convey through my creations.

Valmont Sleeper Earrings

Valmont ring

Athens

“Right now, it's really this capital that inspires me. I went back recently for the New Year and spent a week there. It's a city I love, whether it's summer or winter. There's something difficult to describe about this city. For me, it's a bit like Beirut, a bit odd, but these two cities remind me a lot of each other.
What's absolutely fascinating about Athens is the Acropolis. It dominates the city, always there, always present. It's a bit like the manger in Bethlehem, a place where everything was played out, everything began, that's where it all happened. It's very moving to find yourself in this place, to know that you're at the very heart of Western philosophy, of this thought that we all inherit. It has an extremely powerful effect. And there's this memory of the stones, it's just fascinating. The Archaeological Museum is also incredible, especially for the sculpture. Everything there is absolutely fascinating, from the bronzes to the marbles. There's a richness to these places, a power in their presence. What's striking about Athens is that the Acropolis overlooks the city, but it's not overwhelming. It's not oppressive; it's more of a constant reminder, like a little tap on the shoulder. The city itself is a bit messy, not exactly clean, with a mix of old 19th-century houses, ruins, and modern buildings. It's this juxtaposition that gives it its charm. Athens is a bit like Beirut in that sense: a rather chaotic city, a bit broken, but full of surprises.
Right now, there's also a growing art scene. More and more people are moving there, which makes the city even more vibrant. It's a gentle city, with orange trees lining the streets, and even in winter, there's this kind of melancholy that sets in, with a bit of cold. It's not the usual cold, but there's something charming about it, a unique atmosphere."

Les Demoiselles de Rochefort

“If you’re talking about comfort, I’d turn to music. Jeanne Moreau, of course. But there’s also a film, a real comfort for me: Jacques Demy’s * The Young Girls of Rochefort *. That film is like a refuge. I could watch it a thousand times. What I love is the atmosphere… almost a Technicolor dream, with such vibrant colors, and a completely recreated world. It’s the kind of film where, when you see it, you think, ‘That’s where I would have loved to live,’ that colorful town where everything seems possible. And then, recently, I saw an excerpt from *The Young Girls of Rochefort * on the program * Blow Up * on Arte, directed by Luc Lagier. He’s passionate about Catherine Deneuve, and every time he does a segment, he includes an excerpt from her films. But this time, he dedicated an entire program to her.” He talks about "The Umbrellas of Cherbourg " and "The Young Girls of Rochefort " and says something that struck me: he compares the film to a coloring book where everything has been done perfectly. And that's exactly it; he manages to create a city unlike any other, an unreal city, but full of life, music, and dance. It's like a visual and emotional comfort; I never tire of watching it again.

patrick modiano

“I’ve recently become very attached to Patrick Modiano’s work. Curiously, that wasn’t the case before. I was a bit detached, but now it’s truly become a passion. I recently read “ Chevreuse ” (2021) and another book, “ The Dancer ” (2023), in the same vein. They are very short books, little gems, really. Modiano’s style… it’s a chiseled language, it’s absolutely magnificent. This precision, this refinement in the writing deeply moves me. Everything is imbued with mystery, with melancholy. There’s this timeless quality, it’s like a mist, between desire and love, connections never fully established, unfinished stories. It’s writing of incredible simplicity and beauty. It’s what I wanted to read, pure, chiseled French.”

Ingrid Caven

“The German singer and actress gave a unique concert last February at the Théâtre des Bouffes du Nord to celebrate the release of her new album. I had already seen her in concert three times. She’s someone I admire greatly, and that concert was a very moving experience. I discovered Ingrid Caven when the book by Jean-Jacques Schuhl, her partner, was published. He had written a novel about her, “ Ingrid Caven ,” which generated a lot of buzz. At the same time, I was working at Saint Laurent as a studio assistant for the fashion house, alongside Yves Saint Laurent. One day, I realized that he was the one who had designed her dress. There’s a whole story surrounding that black satin dress, which was very important in her career. Saint Laurent was also crazy about her. I listened to her extensively; she sings in just about every language. And that concert was completely new, quite experimental.” She freed herself from so much. It was fascinating in terms of freedom. I really love that kind of artist. I'm also quite crazy about Brigitte Fontaine, for example. For me, she's a bit like her German equivalent. In her audacity, in her collaborations with very contemporary musicians. They are incredibly free and artistically honest personalities. I was greatly influenced by German aesthetics, by Marlene Dietrich, by Fassbinder. And what's striking about them is this freedom, this creative integrity. Ingrid Caven isn't at all about seducing the audience. What was incredible about this show was the way she presented herself. Very "Dietrichian." Everything was meticulously planned, light, the way she moved, the way she sang. But at the same time, she seemed to want to deconstruct all of that, even deliberately singing off-key sometimes. There was this deeply moving moment when she recounted her first public appearance: at the age of six, in the midst of the war, she sang for the SS. They placed her on a stool, dressed in white, in the snow. A defining moment for her. And it's part of that whole intellectual Germany that rebelled against its past. All this with minimal equipment. But incredible lighting. And she knows how to position herself, move, and time her effects. Minimal means, for maximum impact. And the venue was perfectly suited to it.