Enterprises
there is no difference between the manufacturing of luxury goods and that of other high-end, non-luxury products. In either case, the success of a project lies in reciprocity: everything depends on the richness of the relationship that develops as you modify, cut, correct and figure out solutions together... Sure, with a client like Hermès there is more flexibility, especially in the choice of materials and the complexity of the project. Both variables bring extra quality and value to the finished product. Whereas in other sectors, as we all know, one often has to compromise in order to remain within a specific price range. Q. Tell me about your inspiration for the project: did the heritage of Hermès (also in relation to Jean-Michel Franck’s legacy) influence your choices in any way? A. I began by immersing myself physically in the company, to understand
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their creative process. Hermès has a huge archive with thousands of pieces, from handbags to furniture, including prototypes. I found it very useful to start my quest there. The founders of the maison were themselves very keen on functional objects that expressed their use in a clever way. This is what I tried to interpret and convey in designing these furniture elements. If you look into the history of Hermès, you will always find great attention to functionality coupled with an underlying irony, an amused and playful approach to each project. So in terms of inspiration, what I wanted to express in this collection was the double flavour of purpose and surprise, which I think emerges in the hidden functions of each element, which only those who use them – and this is the whole point – will discover and know. Some of them, for example, have hidden drawers and
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Below, folding “Vestiaire” coat rack with leathertrimmed valet trays and bag rests. Opposite page, “Cabriolet” armchair with Canaletto walnut wood base and brushed inoxplated finishings.
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