Diego Giacometti Collection at Artcurial





Pair of tabourets … a la souris, circa 1960.

A 20 Year Friendship with Diego Giacometti: Brollo Collection

14 September 2016 at Artcurial Paris

This collection is the reflection of a friendship – a shared passion for Italian culture, language, values and a love for raw material, says Frederic Brollo speaking of his parents relationship with Diego Giacometti. He says, “When my parents bought their first work by Diego in 1968, they were in love with the artists work, of course, but they were also moved by a special affection for Diego as an individual whom they knew so well.  Frederic, who inherited and added to the collection was enchanted by his plaster mock-ups as a teenager and received many of them as gifts from the designer. They are included in this sale as well.

The prices on these objects, many well north of 100,000 Euros reflect the well recognized value of Giacometti’s work. What grabbed our attention this time was learning that these pieces are being seen for the first time and where for example many of these pieces my look familiar they are in fact individual commissions. Giacometti made tables with different animals and in different sizes to the clients request.  This stands in sharp contrast to contemporary limited edition collectible design.

This pair of chairs for example (above) was first conceived with leather seats. However, the lucky Brollo’s already had two pairs of chairs from the designer and requested that he place granite one the seats of this pair instead so they could be used as little elegant tables for guests to place their coup de champagne! We admire this type of relationship between the designer and the collector… almost a collaboration. It is a unique expression of creativity. Merging of two minds if you will. Supporting creativity that touches you is the sign of a true collector!

Hope you enjoy these highlights and if you are in Paris this exhibition is well worth the visit!


Detail of above tabourets


Greek table with bird perched on one brace. Plaster models in the background.



This is a preparatory sketch of the current exhibition by Hubert Le Gall.


Pair of Photophores, circa 1976



One of a pair of tabourets, circa 1960



Detail of above tabouret


One of a pair of Lion-head Fauteuils


Paris Biennale 2016 sneak peek!

Screen Shot 2016-08-30 at 22.06.30Desk (c1957) in wood, parchment and bronze by Marc du Plantier. Galerie Jacques Lacoste, Paris.


The 2016 Paris Biennale opens next week (10-18 September). This year there are 125 participating galleries (showing Fine and Decorative Art along with jewellery), a 36% increase from 2014 as the Biennale has joined forces with Paris Tableau, the international fair specializing in European Old Masters. The Biennale will become a yearly event starting from 2017.

Scenography this year is by set designer Natalie Crinière, and we’re particularly looking forward to the special exhibition ‘Tribute to the Mobilier National: Tradition et Audace’. Enjoy these few preview images!

Screen Shot 2016-08-31 at 13.53.23180° Swivel chair (c1934) in solid mahogany by André Sornay. Seat and back upholstered. Galerie Marcelpoil, Paris.


Screen Shot 2016-08-30 at 21.57.38Table by André Arbus (c1964). Patinated bronze base and marble marquetry top. Galerie Chastel-Maréchal, Paris.


Pairs of chairs by André ArbusPair of armchairs (c1949) by André Arbus in black lacquered wood and leather. Female busts in bronze on the armrests by Vadim Androusov. Galerie Yves et Victor Gastou, Paris. 


Desk and chair by Maxime OldMahogany and glass desk and chair (c1952) by Maxime Old. This was Mr Old’s personal desk, the model of which was presented at the Salon des Artistes Decorateurs in 1952. Galerie Yves et Victor Gastou, Paris.


Screen Shot 2016-08-31 at 13.45.54Game table and four chairs (c1923) created for the Grand Hotel de Tours by Pierre Chareau. Mahogany, forged iron, beech, and brown leather. Galerie Doria, Paris.


Screen Shot 2016-08-31 at 13.37.10 Bench Japon, c 1966, by Charlotte Perriand, Galerie Downtown, Paris.


Screen Shot 2016-09-02 at 09.27.06‘La Religieuse SN31’ standing light by Pierre Chareau. The model was created in 1923, this light was made in 1928. Galerie Marcilhac, Paris.

La Biennale Paris, Grand Palais, Avenue Winston Churchill, 75008 Paris

Wishing you all a great weekend!

Kossi Aguessy


Jord Armchair in Carrara marble

Born in Togo, raised in the New York, studied in London and worked in Paris, a self proclaimed artist with an engineering and architecture degree, Kossi Aguessy now lives and works in London and Toulouse.

His influence is global.  We are attracted to his perspective and attitude toward creation.  He says, “I am not a designer but a describer. I’m not a creator but a messenger – a bridge, a piece of a puzzle called evolution that started before me and shall continue long after.”

Damn chair

Damn Chair


Aguessy’s design aesthetic is inspired by antique cultures, and informed by contemporary technology.  He says, “The first question I ask myself at the very beginning of the design process is if this novelty is needed and what will be the human and environmental impact of it.  If the answer happens to be negative, I will not complete the process.”

Through his own studio – Aguessy Industry, established in 2004 – he charges himself, in Gandhi’s words, to “be the change you wish to see”. (source Design Indiaba: http://bit.ly/2bFNLYB)

Indeed his beliefs and methods have lead to very successful projects and collaborations leading to his inclusion last year in Vitra’s “Making Africa – A Continent of Contemporary Design” exhibition. His work has also included projects for brands such as Yves Saint Laurent, Stella McCartney and Cartier.


useless tool chair

Useless Tool Chair in Stainless Steel, Carbon and Nextel (Model acquired by the MoMA)

He recently began work with Galerie Vallois in Paris who will represent him at Art Paris Art Fair in Spring 2017 where he will present his Useless Chair (above), which is already in the collection of MoMA.


L147 Table Lamp in Stainless Steel, Aluminum and Glass


Infinity Chair

Infinity Armchair in Aluminum



Damn Chair in Laser Cut Aluminum (Model acquired by the Museum of Art and Design)


jord oak centre george pompidou museum

Jord Armchair in Oak

Le Don du Fel ceramic centre in the hills of Aveyron, France

Le Don du Fel in landscape

Le Don du Fel.Le Don du Fel ceramic centre in Aveyron

Founded by American ceramic artist Suzy Atkins (who shows her own work at the centre) and her English husband Nigel in the 1970s, Le Don du Fel has developed into an important centre for contemporary ceramics, exhibiting work from all over the world. There are six exhibitions annually. The building itself is breathtaking, perched high up on the hills close to the village of Fel with a spectacular panoramic view of the beautiful surrounding countryside. Designed by architects Lacombe & Florinié, the cylindrical shapes of the building are wonderful. The design was selected by the Forum d’Architecture Mondiale in 2008 as one of the most beautiful cultural projects in the world.

Among the many amazing pieces to see, here are just a few to inspire you!


Work in porcelain by Simon Zsolt Jozsef

Hungarian potter Simon Zsolt Jozsef, who studied at the prestigious Moholy-Nagy School of Art and Design in Budapest, creates the most fantastic and mesmerizing shapes pulling your eye in all directions and creating a dynamic tension between the viewer and his work. ” I don’t want to catch the forms but the process of forming. Not the fruit or the flower, which are always changing and growing but the growth and change itself, which will form the material.” says Joszef. Fascinating and utterly covetable! (images above and below)


‘Bouquet Projet’ in porcelain by Simon Zsolt Jozszf


Jin-Eui-KIM-02-1024x1024South Korean artist Jin Eui Kim plays with illusion and space, as you can see in the image above, through the arrangements at varying intervals of bands of contrasting color.



Vase by Duncan Ayscough

The work of British artist Duncan Ayscough (above and below) with its classical proportions is influenced by ancient Greek and Roman pieces. “Surfaces are constructed by layering five particled slips (terra sigillata) and subsequent length firings in combustible materials provide the pattern to the surfaces”, explains Ayscough. The gold leaf glimpsed in the interior draws your eye inwards to the centre of the piece. Each piece is wax-polished. Ayscough is a graduate of the Masters Program in Ceramics at Cardiff School of Art and Design.

Duncan Ayscough



‘Capriccio’ series by Elke Sada

Look at the brilliant shot of color in this vibrant piece from the ‘Capriccio’ series by German-born artist Elke Sada who often paints using Chinese brushes. Sada completed her Masters of Arts in Ceramic and Glass at the Royal College of London and now has her studio in Leipzig.


Vase by Suzy Atkins

Beautiful painted vase by Suzy Atkins, co-founder of Le Don du Fel.


CF20-Pétale by Christine Fabre

‘Petale’, Christina Fabre

The work of French artist Christine Fabre is currently showing in an exhibition at the centre entitled ‘L’irrémédiable présence du passé’.  Fabre works in bronze as well as terra cotta and you can see an Eastern influence in her beautiful and minimal pieces. Exhibition runs through to 6 October 2016.

CF43-Opéra Mundi Bronze by Christine Fabre‘Opera Mundi’ by Christina Fabre

All images courtesy of Le Don du Fel

Very well worth a visit if you should find yourself in that part of France! If you’re interested in ceramics, click here to check out our post from a couple of weeks ago on a great exhibition in Villefranche de Rouergue.

Le Don du Fel

Wishing you all a good weekend!

Preview of Chinese Contemporary Design in Paris

We can’t help but peak ahead a bit even as we’re enjoying these wonderful summer days!

There are some great shows and sales coming to Paris this fall and one that looks exciting is the Piasa sale of Contemporary Chinese Design in October.

We have been intrigued by how this auction house is assembling themes sales, such and Brazilian Design or Italian design or focusing on a specific designer such as Pierluigi Ghianda or theme such as French avant-garde in the 1980s.

These sales create great learning opportunities for aspiring collectors!

Here are a few of the highlights for the sale in October. The official catalogue will be out mid September and the sale is 25 October.
design mvw 2009

Bookshelves, Design MVW, 2009

frank chou bold long table 2015 Bold Long Table, Frank Chou, 2015

shao-fan-chaise-mandarin-jie 1995

Chaise Mandarin, Shao Fan 1995 (detail below)


shao-fan-round-backed-armchair 2000

 Round Backed Armchair, Shao Fan, 2000

song tao 2011

Bench, Song Tao, 2011

xiao tianyu cloud chair 2016 Cloud Chair, Xiao Tianyu, 2016

Art Deco furniture at the Musée d’Art Moderne de la Ville de Paris

Musée d'Art Moderne de la Ville de Paris

La Musée d’Art Moderne de la Ville de Paris is the long building on the right hand side of the image


One of the most beautiful small collections of Art Deco furniture in Paris is in the Musée d’Art Moderne de la Ville de Paris – and it is often overlooked or indeed unknown!  Nestled within this monumental 1930s building (built for the 1937 World’s Fair in Paris), the collection includes pieces by such design legends as Ruhlmann, Printz, Adnet, Arbus, Chareau, Dufet and Dunand. The current museum, owned by the City of Paris and comprising the east wing of the Palais de Tokyo facing the Seine, was opened in 1961 and is predominantly known for its strong collection of 20th century and contemporary art.
The Art Deco style emerged and flourished in the 1920s, 1930s and 1940s when rapid industrialization was transforming culture. It took its name (short for Arts Decoratifs) from the Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris in 1925. Historian Bevis Hillier defined Art Deco as “an assertively modern style [that] ran to symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; it responded to the demands of the machine and of new material [and] the requirements of mass production”.
Chair in zebra skin by Michel DufetFauteuil in zinc and zebra skin by Michel Dufet, 1930s
Desk in zinc and red lacquer by Michel Dufet. Made for La Compagnie Royale Asturienne des Mines (1936). Esquisses for ‘Rythme nos 1, 2 & 3’ (1938) in gouache on paper by Robert Delauney.
Rosewood ladies desk by Albert GueniotLadies desk in rosewood (1937) by Albert Gueniot. Look at that great waste paper bin attached to the desk.
Commode by Eugene Printz; Cubist composition c1910-1920 by Léopold Survage
Commode by Eugene Printz, ; Cubist composition c1910-1920 by Léopold Survage 
Hexagonal shaped armchair, c1920 Pierre ChareauHexagonal chair by Pierre Chareau, 1920s
During DDays Paris in 2014 there was an exciting exhibition at the museum pairing contemporary design with Art Deco. See below a few images from that expo and get inspired!
Exciting pairing! Bina Baitel floor lamp and Emile-Jacques Ruhlmann commode at Ddays 2014

 Bina Baitel floor lamp and Emile-Jacques Ruhlmann commode at Ddays 2014


Inspired mix! Coiffeuse, 1930s by Paul Frederic Follot, porcelain vase 2014 by Guillaume Delevigne, Sputnik lamp 2014 by Francois Azambourg

Inspired mix! Coiffeuse, 1930s by Paul Frederic Follot, porcelain vase and shelf with mirror 2014 by Guillaume Delevigne, Sputnik lamp 2014 by Francois Azambourg


Spectacular combination Michel Dufet chairs in python with carpet and blown glass mobile by Felipe Robin, DDays May 2014

Spectacular combination – Michel Dufet chairs in python with carpet and blown glass mobile by Felipe Robin, DDays May 2014
Art Deco doors
Entrance doors to a side entrance
11 Avenue du President Wilson, 75116 Paris
Wishing you all a good weekend!

Joris Laarman Lab


Screen Shot 2016-07-29 at 12.23.32 PM

“The red line that runs through all of my work [is that] everything I do has to have a functional reason for why it looks the way it does,” says Joris Laarmen. Combining functionalism, which is often associated with soberness and ornament, which is often seen as superfluous to create a functional heater is surprising and ingenious. Large surfaces best radiate heat and this design exploits the complexity (many surfaces) of the rococo style to create a high-functioning heater.

That was in 2007.

The evolution of the Joris Laarman lab was well presented at Design Miami Basel this June. The ornamental element is still in play within some incredibly challenging 3D printed sleek/minimal fully functional forms.

Screen Shot 2016-07-29 at 12.16.39 PM

in-situ shot of the Joris Laarmen exhibition at Friedman Benda Gallery’s stand at Design Miami Basel, 2016.

Above: The form on the left is a 3D printed screen (there were mesmerizing videos behind it showing the process). To the right is a 3D printed metal bench.

Screen Shot 2016-07-29 at 12.17.21 PM

Microstructures Gradients Chair (Dual Cell), 2014

Thermoplastic polyurethane (flexible 3D printed material)

70 x 77 x 72 cm (27.56 x 30.31 x 28.35 inches)

The first chair in the microstructures series was called the Soft Gradient Chair and elaborates on the use of polyurethane in furniture design, but now in the digital age. It was designed and 3D printed in thermoplastic polyurethane. Using generative design tools and new material research, they basically created foam that is engineered on a cellular level to address specific functional needs for different areas in the object.


Above: Side view


Above: Detail of the complexity of the design.


Above: View from the top.

The solid cells in the design create structural strength and rigidity, while the more open cells create softness and comfort, all within one printing technique.

The Soft Gradient Chair is part of the permanent collection of the Museum of Modern Art, New York, and the Milwaukee Art Museum.


Screen Shot 2016-07-29 at 12.46.03 PMRendering of the bridge project that will take place during two months in 2017

Parallel to these small-scale domestic designs, Laarman has been commissioned to build a 3D printed steel pedestrian footbridge with MX3D over a canal in Amsterdam to open for public use in 2017.  MX3D is an R&D company working to develop cost-effective robotic 3D printing technology. The company has invented a 3D printing tool in the form of a six-axis industrial robot with an advanced welding machine that can 3D print metals and resin in mid-air, without the need for support structures. The tool adds small amounts of molten metal at a time, enabling it to print extremely intricate metal shapes.

The retrospective of Laarman’s work which debuted at the Groninger Museum in the Netherlands, will arrive at the Musée des Arts Décoratifs in March 2017 and is scheduled to travel to points the US after that.


‘Ceramiques d’Artistes’ in Villefranche-de-Rouergue

Vase Arp3, 1956.Vase Arp3 by Jean Arp and Atelier Manufacture de Sèvres, 1956. Collection Cité de la Ceramique, Sèvres 

Curated by Bernard Bachelier, the exhibition shows us the ceramic works of several renowned artists and their personal approaches to the medium. Clay, a fundamental and sensual raw material has long been part of the history of mankind with its practical qualities allied to its vast creative and artistic potential. The forming of shapes and objects with the hands is a primeval form of expression. What interested Bachelier is how many artists explored ceramics alongside their principal art forms, be it painting or sculpture.
Juan Miro‘Carreau’, Juan Miro, edition Artigas, 1996, after an original by Miro dated 1970.  Private Collection
Pichet by Pablo PicassoPichet by Pablo Picasso. Private Collection
Picador bowl, 1955 by Pablo PicassoPicador bowl, 1955, Pablo Picasso. Private Collection
Porcelain plate from the Uni Service, 2008 by Chu The-Chun
Porcelain plate from the Uni Service, 2008 by Chu The-Chun and Ateliers Manufacture de Sèvres. Collection Cité de la Ceramique, Sèvres 
The exhibition runs through to 30 September and is well worth a visit if you happen to find yourself in this corner of the world!  We’ll be posting more images on Instagram this week:
‘Ceramiques d’Artistes’,
Musée Municipal Urbain Cabrol,
Place de la Fontaine,
Wishing you all a wonderful weekend.

Contemporary Living with Collectible Design

Screen Shot 2016-07-15 at 2.17.54 PM

Fernando Santangelo, interior designer for Bette Midler and for the Chateau Marmont curates the upcoming Contemporary Living Sale at Sotheby’ NY on 28 July.

He states: “I thought it would be in a way like working with gouaches or writing poetry … in which you sort of create a group of works or images to mean something beyond the actual objects themselves.”

In this statement he touches on a fundamental aspect of collecting material culture – the idea of creating a narrative through composition. We all collect design in one way or another. And what makes this ‘material culture’ collectible is the meaning we give it.

Very often it starts with an instinctual aesthetic experience, which compels us to explore other attributes … sometimes it’s about form and craftsmanship, sometimes it’s about supporting and aligning ourselves with the intention of the designer, it might be about associating ourselves with former owners of the same object, or a philosophy represented by the object.

There are many characteristics to every object. By combining objects we can create more elaborate and personal ideas and expression  … and our choices reflect our own characteristics!

For examples Santangelo seeks “the best of a period, concept, philosophy” … to create an eclectic interior.  Some ideas he mentions he is drawn to creating with interiors are expressed in the following images:

Screen Shot 2016-07-15 at 2.19.04 PM

He says, “There are shapes that relate and there is a moment there that is held still.” Can you fell this idea in the image above?

Screen Shot 2016-07-15 at 2.34.23 PM

There is a “musical” element to this ensemble he suggests. Do you experience this? Consider how the movement expressed in each object that tends to compel your eye to move from one object to the next creating a sense of movement.

Screen Shot 2016-07-15 at 2.18.43 PM

Dynamism and secrets are the themes he points out in this composition. With these two words the idea of a genie (suggested by the movement or ‘dynamism’ of the print) rising from chest of the silver flasks seems quiet obvious, tangible and magical.

Click on any of the photos above to watch a video of Fernando Santangelo speaking about this project.


Q & A with decorative artist, Emmanuel Bossuet


Emmanuel Bossuet in his stunning appartment. Image courtesy of The Socialite Family

Emmanuel Bossuet in his stunning appartment in Paris. Image courtesy of The Socialite Family

We were thrilled to have the opportunity to talk with the charming and erudite decorative artist, Emmanuel Bossuet, artistic director of Maison Charles, recently in Paris. Enjoy our Q & A with him.

You describe yourself as a Decorative Artist. What is your philosophy in your design work? The term ‘decorative artist’ is a broad one and can suggest many things. I don’t dedicate myself to being a mere ‘surface designer’ or solely an ‘ornamantist’ but rather I commit more widely to a graphic oriented approach whatever the subject, be it pattern or a piece of furniture. In practical terms it means, I guess, that I somehow prioritize the visual rendition and optical aspect of a piece, and how it will behave in a given environment – within of course a much broader array of criteria….

My commitment definitely has something to do with being an ‘auteur’, whatever the medium may be. And for me discipline is not a theme in itself (which would mean remaining bound to an academic definition of any given medium…). Rather I believe that the theme of any work, any place and perhaps any time is what I can actually bring to it.

Dandelion screen by Emmanuel Bossuet for Armel Soyer. PAD Paris 2016.

Gold and black ‘Dandelion’ screen by Emmanuel Bossuet, PAD Paris 2016, on Armel Soyer’s stand.  Image courtesy of Emmanuel Bossuet

Dandelion wallpaper with embossed paper on Velin d'Arche 300grs, by Emmanuel Bossuet. Edited by Armel Soyer Gallery

‘Dandelion’ wallpaper with embossed paper on Velin d’Arche 300grs, by Emmanuel Bossuet. Edited by Armel Soyer Gallery

Have you always been interested in the decorative arts? And how did you become involved in that metier? What drew you to it? As a child I always regarded the decorative arts with a suspicious eye to say the least…mainly perhaps because I had long found myself surrounded by lesser quality artefacts which were impoverished copies of the grand styles. Most of them Louis XV style… These copies were speaking a very mysterious language to me : totally irrelevant, full of inner and irresolute contradictions.

Years later, my interest in fiction and story telling brought me to a serious study of the graphic arts, drawing and photography which then led me, after a few curvy creative detours to work as as industrial product designer. Incidentally I also got involved at the same period in the field of fashion where I personally focused on pattern making for prints or embroideries. Up to now, most of my close friends are people working in the fashion industry. However, it became clear to me that on the one hand, the aim of the electronic industry (as an industrial product designer) was not to conceive the best products possible and this was a total denial of my commitment as a designer. And on the other hand, the fashion pace seemed far too frustrating in its essence : Why renew your proposals every season, quite often artifically, when you actually seek to invent instant classics rather then obsolescent novelties ? Where is the Grail in all this ?

My attitude towards this analysis was then to look for a more perennial playground, involving lifestyle and artistry alike : and that is why I declared myself a ‘decorative artist’, quite wittily at the time because the word ‘decorative’ was seen as a pejorative, if not provocative term then. Only ten years ago, the term was regarded as a declaration of war on intelligence. Especially in the art field. In the art market, if ‘decorative’ could be added somewhere in the boiler, it was considered the best thing to appeal to a clients actual criteria. It became a widespread essential feature.

Appolonius lustre by Emmanuel Bossuet for Maison Charles. Seen here at AD Collections Quai d'Orsay 2015

Appolonius lustre by Emmanuel Bossuet for Maison Charles. Seen here at AD Collections Quai d’Orsay 2015

From where do you draw inspiration? What inspires you? Strangely enough mostly from reading : memoirs in the first place, then essays and technical or scientific literature. I don’t really look much at other people’s work, except when I want to look more closely at why a certain type of project failed or, in my opinion, simply didn’t manage to reach its underlying goal (its always more pleasant to learn from others’ misconceptions than from yours, right ?…)

But what inspires me the most on an everyday basis is the creative process in itself and the many notions you should beckon or dismiss in the creation. And the rhythm thus involved. Let me draw you a picture : after a finely-tuned study I often end up saying that I foresee ‘one solution and a half’ regarding a specific project : which basically means not exactly two…

Plates by Emmanuel Bossuet.

Plates designed by Emmanuel Bossuet

Ceramic bathroom tiles by Emmanuel Bossuet.

Ceramic tiles in a bathroom by Emmanuel Bossuet. Just love the dynamism of the spectacular design! Image courtesy of Emmanuel Bossuet

How do you see the design market in France now? There is basically strictly no product design now in France. We don’t have Ikea here, and the car industry is much more about styling. What we call ‘design’ here is more a matter of dedicated galleries, interior design studios and luxury brands looking to express themselves in a certain environment. This is a strongly flourishing milieu, mostly because creation is still tightly linked to a centuries old tradition here in France of exceptional savoir-faire. Whatever the technique involved you’ll always find here the best craftsmen or companies to realise a project. This is what makes France stand apart in this field from other countries in Europe.

And we can’t deny that Paris in itself attracts the attention of so many people which means that endeavours and creations here are projected onto the international stage and always looked at under a particular spotlight. This is definitely the place for creation.

Desert Rose light by Emmanuel Bossuet or Maison Charles. AD Collections 2016.

Desert Rose light by Emmanuel Bossuet for Maison Charles. AD Collections 2016. Image courtesy of Emmanuel Bossuet

You became Artistic Director of Maison Charles in 2014. Can you tell us about your role there? Charles is a particularly splendid signature mark and a genuine reference for anyone interested in interior design, be it bronzesmithing or simply lighting. The name ‘Maison Charles’ itself has always been a reference point to describe high-end 60’s and 70’s fixtures. Which is true even now perhaps.

When I started as artistic director of Maison Charles, I had to seriously immerse myself at once in its history and know-how, and as is the case for any venerable house, there is always an intricate mix of these elements with the bare realities of production and market focus. As in everything, there are always many exceptions !

My role there is now mainly to focus on special projects and editions which will lead towards defining Charles in terms of aesthetic innovations for the future. I tend to play the role of forerunner in a way – from quicksand to thin ice, the objective being at my level to help the brand play an ever more prominent yet singular role in the decorative arts field, but on our new grounds. In practical terms, this can take the form of exhibitions, collaborations and special orders. For example, we recently exhibited the first models of the ‘Desert Rose’ range, which I designed, at the event held by AD magazine in Paris – a chandelier, table and tableware. And we are now setting up an exclusive collaboration revising an all-time Charles classic with a top-end department store for the end of the year in Paris.

Art direction is of course not similar to PR work on an every day basis, but if you consider the goals through the scope of creative opportunities for a brand, it should all really be viewed in the same way.

Close-up of Desert Rose low table by Emmanuel Bossuet for Maison Charles. AD Collections 2016.

‘Desert Rose’ low table by Emmanuel Bossuet for Maison Charles. AD Collections 2016.

Can you tell us about one of the favorite pieces you’ve designed and why it is important to you.  As they all belong to the same string it may be difficult for me to pick up any from the flow ! In some ways I always have a special regard for the ones that escaped from me by reaching a kind of autonomous life by themselves.

Among the most particular projects I would perhaps mention the work we did with Stockman, the famous French bustform manufacturer for couture, a few years ago. These intensely graphic pieces were first created for a one-shot exhibition organized by friends in a commercial showroom. But soon afterwards they were shown at Musée des Arts Décoratifs, then at Centre Georges Pompidou and finally landed at Musée Grevin where ten of them are exhibited as stand-alone pieces. I guess that is what I consider “escape”…

Stockman busts by Emmanuel Bossuet in the Musée Grevin.

Stockman busts by Emmanuel Bossuet in the Musée Grevin.

Stockman busts by Emmanuel Bossuet. Musée Grevin, Paris

Emmanuel Bossuet


Wishing you all a good weekend.