« Dangerous Liaisons »

“I launched my latest collection called “ Dangerous Liaisons ", inspired by the book and the film. It was first the book that inspired me, then the film by Stephen Frears, with Glenn Close and John Malkovich, which I always have in mind, which I saw several times from the age of 12 or 13. It is truly an 18th-century fantasy. What particularly touched me was the aesthetic of the film. I find it one of the most beautiful reconstructions of the period, and the atmosphere that emerges from it, the salons, this idea of ​​slightly idealized luxury, a vision of the taste of the French Art de vivre. But, it is a fantasy, of course, an aesthetic vision, very idealized of this period. The quality of the costumes fascinated me, as in " Barry Lyndon ", a true work of art. And this atmosphere inspired the entire collection I designed. The crystal chandeliers, the play of reflections, this soft and flattering light that evokes this era for me. There is also the influence of French gardens, another subject that deeply fascinates me. Everything that touches on the order of the line, on what is well drawn. I am not a very organic person, I am more attracted to symmetry, balance, accuracy. These are concepts that concern me enormously. And this period in France, for me, is one of the golden eras, because they achieved a kind of perfection in these areas. Finally, there is this restraint in the aesthetic, it is not baroque, it is classical, in the sense that we perceived it at that time. There is a form of moderation in all of this, a search for balance and proportion that particularly touches me."

Cecile Heart Charm

Tourvel Pendant

Ancient diamonds

"This latest collection is dedicated to antique diamonds. An aesthetic and ethical bias. Above all, I find these diamonds truly magnificent. Unlike modern stones, they are more imperfect, more irregular, hand-cut without seeking absolute perfection. This irregularity gives them a particular brilliance, a muted light, almost as if lit by candlelight, which creates a unique emotion. In addition to their beauty, these diamonds come from a responsible approach : these are loose stones, purchased from diamond dealers, which avoids mining and the environmental impact of laboratory diamonds. I like this traditional approach where we recover stones to give them a new life. This choice involves challenges, because these diamonds do not have standardized shapes, which complicates production. But this is precisely what makes them 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 transmit 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 talk to me about comfort, I would go to music. Jeanne Moreau, of course. But there is also a film, a real comfort for me, it is " Les Demoiselles de Rochefort » by Jacques Demy. This film is like a refuge. I could watch it a thousand times. What I like is this atmosphere... almost a technicolor dream, with such vivid colors, and a completely recreated universe. It's the kind of film where, when you see it, you say to yourself "this is where I would have liked to live", this colorful city where everything seems possible. And then, recently, I saw an excerpt from " Damsels " in the show " Blow Up » on Arte, directed by Luc Lagier. He is passionate about Catherine Deneuve, and every time he does a section, he inserts an excerpt from her films. But here, he dedicated an entire show to her. He talks about the " Umbrellas of Cherbourg »And« Damsels " and said something that struck me: he compares the film to a coloring book where everything has been done right. And that's exactly it, he succeeds in creating a city that looks like nothing else, an unreal city, but full of life, music, 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 the work of Patrick Modiano. Oddly enough, that wasn't the case before. I was a bit distant, but now it's really become a favorite. Not long ago, I read " Chevreuse » (2021) and another book, « The Dancer » (2023), in the same vein. These 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 touches me a lot. Everything is shrouded in mystery, in melancholy. There's this timeless side, 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 mark the release of her new album. I must have seen her in concert three times already. She's someone I love very much, and this concert was a very moving moment. 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 had caused a lot of talk. 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 it was he who had made her dress. There's a whole story surrounding this black satin dress that was very important in her career. Saint Laurent was crazy about her too. I listened to her a lot; she sings in almost every language. And that concert was completely new, quite experimental. She freed herself from a lot of things. It was fascinating in terms of freedom. I really like this kind of artist. I'm quite crazy about Brigitte Fontaine too, 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 very nourished by German aesthetics, by Marlene Dietrich, by Fassbinder. And what stands out 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 precise, light, the way she moved, the way she sang. But at the same time, she seemed to want to deconstruct all that, even if it meant singing out of tune sometimes. There was this moving moment when she recounted her first public appearance: at the age of six, in the middle of the war, she sang for the SS. They put her on a stool, dressed in white, in the snow. A founding moment for her. And it's part of this whole intellectual Germany that rebelled against its past. All this with a minimum of devices. But incredible lighting work. And she knows how to position herself, move, time her effects. A minimum of means, for a maximum of effects. And the venue lent itself perfectly.