From meeting your clients and collaborators to producing your creations, tell us about your creative process.

 

Everything is triggered by a phase of deep introspection, at this stage, I refrain from using any tool, not even a pencil. I close my eyes to project myself into the perspective of others, and not my own, because this does not matter. True creation begins by visualizing the desired impact on people's emotions and thoughts, before materializing that vision.

 

This process is inherently solitary. I ask my brain questions, whether they come from me or from a client. Then I let my mind work freely. Ideas mature over time, some develop, while others fade. What matters is nurturing those that have the potential to grow. Each project thus becomes an integral part of my life for several years. Each creation carries with it a responsibility: that of bringing something unique and significant to the world; otherwise, it should not go beyond the idea stage.

 

 

Opposite: The Inverted Gravity table, bench and bedside table give the illusion of vulnerability.

Opposite: Materializing the liquid wave: the genius of the Ocean Memories marble table.

You created the Olympic torch and cauldron for the Paris 2024 Games.

 

It was a unique challenge. It was about creating something that would be seen by almost 4 or 5 billion people around the world. This achievement was to reflect a certain French ambition or requirement, characterized by the desire to do things differently, without necessarily claiming to do better. This approach is typical of the French spirit, sometimes admired, sometimes irritating, but always seeking to innovate.

 

For the Olympic torch, I had to respect certain unavoidable functional constraints, such as size, weight, and the need for a visible flame. However, I wanted to introduce an innovation by creating the first absolutely symmetrical torch, symbolizing equality, which posed significant technical challenges for me. The idea was to mark a before and after Paris 2024 by bringing something distinct and memorable to this event.

A few words on your vision of tomorrow’s habitat?

I am reluctant to talk about the future, because I find it pretentious and easy. This would imply that I know what the future holds and what our needs will be, an unwarranted assumption in my opinion. Besides, there is already so much to do in the present. For example, my Outonomy project presented at Maison&Objet is often perceived as futuristic, but for me, it meets current needs. Technologies exist today to produce energy sustainably, collect rainwater, and the desire to reconnect with nature is stronger than ever, especially after the Covid-19 pandemic.

However, the present is often seen through the prism of nostalgia, making any innovation seem like it belongs in the future. But Outonomy is a concrete response to current concerns, offering a vision of the ideal habitat adapted to contemporary realities. Of course, this view is not universal; some people prefer to live differently, and that is their right. My role is to give shape to emerging ideas, offering solutions to those who seek to change their way of life, their way of consumption, or their way of producing.