For me, it's really a recognition of my work and my involvement by the profession. Receiving an award, surrounded by very influential and recognized personalities, adds value to my work and convinces me that I have chosen the right career. And it goes even further, because this prize is awarded at the Elysée in the presence of the Head of State, and that for a “young” designer, it's fabulous. It really makes me want to continue.

I think that France has a role to play and is a weight in this area. What's interesting is that we have a real history with design in France. Today, big names shine internationally like Philippe Stark, sponsor of the French Design 100, or in his line the Bouroullec brothers, also winners of this edition. But being French is also a plus because we have very good design schools in France. Personally, I work a lot with foreign companies, especially in Europe, who are fond of French designers and their “touch”. The French designer no longer has much to prove, he is clearly recognized.

I think so, but to define it in one word is impossible! I would rather say that there is culturally in France a sense of aesthetics, of beauty, of craftsmanship - whether in interior architecture or design with a different scale treatment. I cannot say that there is a French style, because each designer has a signature. But having traveled little, I can say that we have something to defend abroad. A sense of detail, a historical heritage, a heritage that makes beauty important from a designer's point of view. We therefore have a duty to promote this style because the sense of beauty is exported and valued abroad.

I've felt a phenomenal acceleration and awareness in the design world over the past three years or so. But the pandemic has accelerated this phenomenon. Until a few years ago, design followed the path of fashion: we created a lot because people wanted to change furniture as they changed clothes. Today, the industry is not slowing down because sales have exploded with the Covid, but consciences are changing. From now on, we feel that people want to own long-lasting, durable furniture that they can keep or recycle. And they are therefore ready to invest more, are looking for local know-how, objects made in France or in Europe.
All of these changes allow the sector to evolve. I see it with the brands I work with who are beginning to think about why they produce and above all how. For example, Made.com plans to stop producing everything in Asia, and to review some of its circuits and raw materials. For a designer, this is extremely important and a source of inspiration. I am quite enthusiastic about this wave of environmentalism and reasoned buying.

What motivates me is the material, the know-how and unearthing a little special things. The constraints are different depending on the materials we use for each project, this is what is fabulous in our profession. Each project opens up a new field of exploration and learning. Often, I send a draft to a craftsman and then we discuss it. I like to say that my drawings are made with four hands. The designer drives the line, but nothing can be done without the craftsmen, the manufacturers who provide solutions and can modify the design according to their technical constraints. Design is a collaborative work.

It's not a real discovery because I knew the process, but recently I collaborated with a cabinetmaker who works with burnt wood. Originally, it is a Japanese technique called shou sugi ban. It had fascinated me, and I wanted to seize it. So I'm going to pull out a burnt wooden stool. But I am also thinking of an ancestral ceramic technique: mixed clay. It is a mixture of colored earths which will create marbling effects. These skills are a real source of inspiration and should be preserved because they are the very essence of French success in the world of design.

Photo credits: CharlotteJuillard @LuceRoux NOMA-LAIME-Ecru-detail-dos ®Studio-Swissmiss