Depuis sa création, en 1826, la manufacture française Cristel a bâti sa réputation sur un savoir-faire et des innovations qui la caractérisent, à l’image du système de poignées amovibles Cook & Serve imaginé par Paul Dodane en 1984. Si jusqu’ici, l’élaboration d’aucun produit n’avait jamais été confiée à un designer extérieur, cet anniversaire est l’occasion pour la marque d’ouvrir un nouveau chapitre en faisant appel à Noé Duchaufour-Lawrance, dont le travail explore depuis de nombreuses années les liens entre territoire, artisanat et matériaux.

‍Une poignée inspirée de la nature

Baptisée Racines, cette nouvelle poignée ne cherche pas à réinventer le système imaginé par Cristel mais à lui offrir une nouvelle expression. Réalisée en bois et éditée en série limitée, sa forme s’inspire directement de l’écorce des arbres. Son veinage sculpté en relief confère à l’objet une dimension à la fois tactile et sensible, comme un rappel du lien instinctif à la matière brute. « Cuisiner, c’est transformer une matière brute. La poignée est l’interface entre la main et cette transformation. À travers cette poignée, j’ai cherché à exprimer la rencontre entre nature et usage », raconte Noé Duchaufour-Lawrance.

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Au-delà de l’objet, cette collaboration confronte pour la première fois le savoir-faire industriel de Cristel à la vision d’un designer, sans pour autant renoncer à l’identité qui fait son succès depuis deux siècles. « Racines s’inscrit dans l’univers amovible qui a fait la réputation de Cristel, tout en marquant une étape inédite : celle d’une grande maison qui s’ouvre à un regard extérieur. Noé Duchaufour-Lawrance nous a semblé proche de nos valeurs et être celui qui pouvait apporter de l’émotion à notre savoir-faire », confie Damien Dodane, directeur général délégué de Cristel. Une manière de célébrer deux cents ans d’innovation en rappelant que le design peut aussi raconter une histoire, celle du lien entre l’homme, la matière et l’usage.

As we reflect on September's Paris Design Week, one thing is clear: collectible design seems to reign supreme. Yet, the less "Instagrammable" world of industrial design has not disappeared. To reaffirm its presence and offer a counterpoint to the current trend, the Bureau de la Mode, des Métiers d’Art et du Design (BDMMA) presents "Multiples." Conceived as a return to basics, the exhibition is not "a status report on the sector", but rather aims to "provide an overview of research and textures centered on mass production", explains Frédéric Bouchet, deputy director of the institution. This diversity is reaffirmed through thirteen studios whose utilitarian and aesthetic objects celebrate production. Through this, the focus is not on creating for the sake of creating, but on the intelligence of replicable and viable systems.

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A new relationship with industry, but the same idea of design

If the sector is experiencing "a change of state", it is partly due to the upheaval that has occurred in industrial production. "The relationship with industry has changed completely, requiring designers to shift their stance and be less passive regarding production. They are now encouraged to take hold of processes themselves or repurpose production methods to engage in self-publishing", analyzes Frédéric Bouchet. These new alternative paths are prompting some designers to question the challenges related to resources and how the materials used serve their intended purpose. "It seems to me that this concern is increasingly rooted in the local fabric, as seen in the work of Jules Levasseur. He convinced a company in Burgundy, where he is based, to take an interest in his project, and together they developed 'Projet S,' made from corrugated metal sheets. His challenge today is to channel production at his own scale to produce just the right number of furniture pieces." Beyond the challenge of economic adaptability, there is the issue of formal and technical reinterpretation. "How can one avoid being beholden to traditional publishing? How can I bring local industry into my own territory while generating value? These are the two major questions that emerge in the exhibition, notably through the work of Lila Guédin, who used industrial assembly techniques to create chairs, and Nicolas Verschaeve, who uses tool handles to create small interior objects like hooks and coat racks." These captures and reinterpretations of pre-existing industrial matrices open up new aesthetic and technical doors. Whether published or not, the projects selected by curators and exhibitors Lucien Icard and Kevin Lebouvier shed different lights on these new relationships with industry, favoring "a certain stylistic purity based primarily on assembly".

An exhibition to discover at the Bureau de la Mode, des Métiers d’Art et du Design, 30 rue du Faubourg Saint-Antoine, in the 12th arrondissement of Paris, until October 3rd.

Established thirty-three years ago, the Grand Prix for Creation is part of the City of Paris's policy to support the fashion, design, and fine crafts sectors. Organized by the Bureau of Design, Fashion and Fine Crafts (BDMMA), this year’s awards recognize eight professionals, each receiving a grant of 18,000 euros. It is a modest contribution considering the 350 applications received by the juries, chaired this year by Ionna Vautrin for design, Lisa Gachet for fashion, and Jeremy Maxwell Wintrebert for fine crafts.

Design Revelation Award: behagelfoiny

Antoine Behaghel and Alexis Foiny met while studying at the Arts Déco. Gradually inspired by the ready-made, they began developing projects centered on exploring the materials at their disposal. This approach led them to found their studio in 2020, based on a practice inspired by neo-craftsmanship. "We act as a connection point between different trades, which allows us to reclaim the creation and production of objects by implementing innovative methods. This is our DNA, even as we expand our expertise into other fields like scenography. This approach leads us to address issues related to environmental awareness and childhood." Their approach has already caught the attention of galleries and institutions, such as Le French Design, which included them in its FD100 list, and the Mobilier National, which acquired their Alupié bookcase in 2026.

Design Commitment Award: Marie et Alexandre

Represented by the Signé gallery on Rue Jacob in Paris, Marie and Alexandre are currently presenting "Under Pressure," an exhibition of objects shaped by pressure. The project effectively summarizes their work, which began five years ago after meeting at the Villa Noailles during the Design Parade. Marie, who studied at HEAD in Geneva and ECAL in Lausanne, and Alexandre, who trained at ENSCI – Les Ateliers and later at the California College of the Arts in San Francisco during a university exchange, share a curiosity for craftsmanship that drives them to adopt an itinerant practice. Between factory visits and field experiments, the duo collaborates with brands such as Glas Italia, Dryade, and Petite Friture. "Our creations for galleries allow us to conduct free research, which we then use as a foundation for more industrial projects."

Fashion Revelation Award: Anthony Calydon

Sewing. An activity that has occupied Anthony Calydon’s mind for twelve years. He started by making his own clothes, had a brief stint at ESMOD, and then decided to continue as a self-taught designer. His career began quietly thanks to Instagram. Alongside his work dressing artists, he works as a pattern maker for emerging labels. But he is in no rush to move too quickly until he has found his style—one that will be recognizable at a single glance. "I have always been inspired by Japanese designers. I wanted to offer something strong, without a logo. I wanted people to see my pieces and think: that’s Anthony Calydon. And, little by little, I made ribbing and overlock stitching my signature." A world and a body of work rooted in their time, driven by a deep attention to craftsmanship.

Fashion Commitment Award: Collectivo

A chemical engineer from INSA with a master’s degree from HEC, Samia Boukbir spent five years in marketing and international makeup development before joining a collective dedicated to upcycled fashion. Her professional path then transformed into a journey. "In 2016, I went to Cuba and my professional life changed forever," recalls Samia Boukbir. I discovered a company entirely based on reclamation, having spent nearly seven years in the industry at L’Oréal and Dior. It really made me question things. When I returned, I quit my job… and ended up at the Saint-Ouen flea market!” It was in this historic cradle of the circular economy in Paris that Samia established Collectivo, which officially launched in 2022. The collective has since collaborated with 22 designers. Each new collection is an opportunity to open the circle to new talent through open calls for projects. “Everything starts with our selection of materials to upcycle: we build the plans for our three collections around them, focusing on reinvented officewear, sports, and innovation.”

Fashion Accessories Award: Luca Colosimo — 10.03.53

The story begins with the purchase of a huge orange bag. That first purchase sparked a realization. “It was an act of emancipation. For my dad, a bag was a forbidden object for a man. But I was fascinated by it!” However, it would be a while before Luca Colosimo dedicated himself to this accessory. After studying industrial pattern-making for ready-to-wear—which he hated—receiving a scholarship to train in leather goods prototyping, and gaining experience at Gucci, Isabel Marant, and Paco Rabanne, he had a breakthrough in 2020. He then launched his own brand, naming it after his father’s birth date: 10.03.53. From there, he began creating sensual designs with classic shapes, with a particular interest in innovative materials. “Today, we make bags out of paper, reinforced concrete, untreated leather… We’re having fun!”

Fashion Jewelry Accessories Award: Sarah Madeleine Bru

Trained at a design school in Nantes, Sarah Madeleine Bru quickly realized she was passionate about craftsmanship. She took on numerous internships and freelance assignments while still a student, before joining the Creative Academy, the Richemont Group’s school in Milan, which provides training in design for the jewelry, watchmaking, and accessories sectors. “That allowed me to join the brand Dunhill, which is little-known in France but is a bit like the Hermès of menswear.” She stayed there for a year, during the time Kim Jones was the artistic director, before being scouted by Louis Vuitton. Then, in 2012, she went solo. “At the beginning, I mainly sold my silver jewelry to my friends. Then I got some press, I was recognized, and I evolved my designs. Today, high jewelry and custom orders have taken over.”

Artistic Crafts Revelation Award: Chloé Valorso

A sculptor, bronze caster, and jeweler, Chloé Valorso discovered the lost-wax casting technique during her studies in London, first at Central Saint Martins and then at the Royal College of Art. “I wanted to learn the technique from A to Z. Normally, artists go to outside foundries or learn just a few steps. I wanted to master everything so I could innovate.” Inspired by anthropology seminars and works on new materialism and eco-feminism, the designer works through collage, giving birth to objects akin to "exquisite corpses of stories and mythologies", opening up the imagination. "I mostly work with materials imbued with life: snakeskins transmuted into bronze, flowers I immortalize using a direct casting technique I developed. I just finished some candle holders, combining roots, snake vertebrae, and flowers gathered from Parisian gardens."

Craftsmanship Commitment Award: Les Ateliers Victor Bert

Giving visibility to an endangered craft: this is what drove Victor Bert, a sign painter, to enter the City of Paris Grands Prix de la Création. Always fascinated by historical monuments, Victor trained as a stonemason in Amiens. It was there that he discovered stone engraving and quickly developed a passion for lettering. With his vocational certificate in hand, he moved to Paris, working while supplementing his training with courses in typography and calligraphy. "I always knew that lettering went beyond stone carving, that I needed to explore a multitude of mediums. I have never stopped enriching my practice. That’s how I discovered a documentary on American sign painting in 2015 and decided to get started."

Making light a presence without letting the fixture dominate the space: this is the philosophy behind Seagull, imagined by Thierry Dreyfus. To design it, the designer drew inspiration from Frank Lloyd Wright's Johnson Wax Building, built in the late 1930s, where glass tubes diffuse exterior light into the interior. Thierry Dreyfus transposes this sensation to a domestic scale through a succession of horizontally arranged light tubes, in a composition with Art Deco accents.

New proportions, new possibilities

Already available in a 120 cm version, Seagull now comes in a 160 cm format, designed to complement larger tables. Ideally suspended between 80 cm and 1 m above the tabletop, the fixture stretches the light rather than concentrating it, creating a "roof of light," to use the words of Frédéric Winkler, president and founder of DCW éditions. A new scale that also opens Seagull up to other uses, because more than just a simple light source, the pendant can become a true line in space, capable of following architecture and guiding the eye. An approach that extends the research of Thierry Dreyfus, known for his light installations and collaborations with Comme des Garçons, Raf Simons, and Peter Marino. The goal is to stage the light, here in a version designed for everyday life.

While the Hôtel de la Marine has established itself as a key venue for Paris Design Week, this year’s bold choice is sure to surprise. A curious car is parked right in the center of the courtyard, its odometer—fresh from the workshop—seemingly stuck at 40,075 kilometers. A malfunction? No, a clue. Because behind this familiar silhouette, that of the Citroën-produced Méhari, lies a true design manifesto and a tribute to the decorative arts.

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A collision between industry and craftsmanship

Behind this project are Cécile and Antoine Tauvel, the founders of Maison Lacmé, established two years ago. Their goal: to create functional works of art from everyday objects. This ambition led the two vintage car enthusiasts to explore the potential of the Méhari. "For many French people, it evokes the 60s or memories of seaside vacations. But for me, it was also the lunar aspect that spoke to me, reminding me of the covers of certain Tintin albums. So our role was to reveal the symbolism and the sense of wonder that were already there," explains Antoine Tauvel. The couple then designed the frame. It would be gold, echoing French decorative arts and art history, applied in touches to a transparent chassis. "What we found interesting was creating a certain balance between industry and fine craftsmanship by playing with contrasts." This aesthetic research was conducted with a French manufacturer to rethink the polymer composition and prevent the chassis from yellowing, after which a layer of transparent ceramic was applied. "The challenge was to transform this purely industrial typology into an art object without giving it the status of a luxury item. We first had to spark formal curiosity to then draw the eye to the smaller elements," details Cécile Tauvel. A quest for storytelling where the automobile conveys the imagination.

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A concentration of expertise

Who said a hubcap and a lamp, or an automotive logo and a brooch, don't belong to the same world? Certainly not Maison Lacmé, whose project is centered on the ambivalence of objects. Each of the twelve elements created by master artisans has a practical function. "This car is a Trojan horse, a mobile cabinet of curiosities that hides things within itself," summarizes Antoine Tauvel, who originated these dual functions. "This idea is central. We did all the preparatory drawings and aesthetic choices in-house, then presented them to the artisans." From then on, the project became collaborative, and the sketches were adjusted for aesthetic coherence. The steering wheel, crafted from driftwood, and the seashell-embroidered upholstery open up a maritime horizon, while the feather-marquetry odometer—stuck at the Earth's circumference—can be removed and used as a desk clock. Beyond their utility, the techniques used recall those of the golden age of French decorative arts. Among them is the trompe-l’œil technique, used to replace the stone hubcaps with painted versions when the vehicle is in motion.

A true "poetic travel tool," the Maison Lacmé Méhari will be on display in the courtyard of the Hôtel de la Marine until Sunday, October 4.

From September 10th to 19th, design once again took over the streets of Paris, much to our delight! Whether industrial or collectible, the creative sector made headlines again, both through new collections and new gatherings. It was an opportunity to rediscover certain profiles and meet new minds driven by innovative concepts. Among all the installations we discovered, here are the ones that particularly caught our attention.

Picnic by Cluzel / Pluchon: an invitation to lunch

Following Marianna Ladreyt last year, designers Cluzel / Pluchon took over the courtyard of the Hôtel d’Albret to present the Picnic installation, created in collaboration with manufacturer Guyon Mobilier Urbain. Conceived as an invitation to share and wander, Picnic was unveiled as a life-sized picnic table over seven meters long. Continuing the Gier duo's well-known collection, it combined locust wood slats with a powder-coated steel structure, drawing a generous curve to create a dialogue between urban furniture and conviviality.

‍GOOD SELECTION by Lucas Zito and Marika Caputo: new scenes

‍Organized by Lucas Zito and Marika Caputo, the second edition of GOOD SELECTION was held this year in the heart of the Fondation Fiminco in Romainville. Now disused, the former pharmaceutical factory—reminiscent of some of the most surprising Milanese venues chosen by Alcova—was taken over for the occasion by 47 international designers. Favoring dialogue between creations rather than formal classification, the exhibition offered various living spaces. A combination of styles and atmospheres provided visitors with a new, more embodied perspective on this so-called "collectible" design.

Volt Face by Studio 5.5 and Schneider Electric: high-voltage collection

Studio 5.5 teamed up with Schneider Electric to imagine the Volt Face lighting and furniture collection, designed using the Odace range and presented at the Galerie Joseph on Rue des Minimes. Faithful to their taste for repurposing everyday objects, Vincent Baranger and Anthony Lebossé chose to make the socket and switch the main element of their creation, rather than an afterthought. Developed as wall lights, pendants, lamps, tables, and even nightstands, each piece plays with the repetition and assembly of the modules. Conceived as a true creative palette, the Odace range thus becomes a material to be composed, but also to be touched and operated, making these pieces playful and offering a fresh look at these familiar yet often undervalued objects.

‍Tout est Chaos by PLI Office: ordering the desirable

‍After initiating "Pour que tu m’aimes encore" in 2024 and "Design Disco Club" the following year, Christopher Dessus returned this year with "Tout est chaos." Presented at the Gaîté Lyrique, the exhibition brought together a body of work that acts as a vector for surprise. A feeling conveyed by the material or the form, but also and above all by a freer consideration of usage. It is a counterpoint to modernist design, which is generally serial and fundamentally utilitarian, here abandoned in favor of narrative. It was an opportunity to see very personal research collide, such as the non-linear or even random work of the series, the reinterpretation of industrial archetypes reworked by hand, or new explorations blending industry and craftsmanship. Driven by a nearly free participation, the 66 selected designers delivered a specific idea of design, claimed by 10 of them through installations and even a projection imagined as a manifesto.

‍Victoria Wilmotte: Stainless Steel Collection

‍For this year's Paris Design Week, Victoria Wilmotte unveiled nearly a dozen pieces. Whether brand new or reimagined existing typologies, this collection continues to explore a world defined by geometry and a distinct industrial spirit. Crafted from stainless steel—sometimes featuring textures that evoke the technique of hammering—the various objects diffused light, along with the signature blue hue championed by the designer.

‍Opus by Studio CHHO: A New Trajectory

‍Launched a decade ago, the interior architecture firm Hoch unveiled Studio CHHO, the creative force behind Opus. This debut furniture collection, whose name suggests both a first chapter and a technical term for stone masonry, consists of five pieces. Developed over a year and a half, it highlights taut lines and 90° and 45° angles, delivering a bold aesthetic language with generous forms. Enhanced by a restrained palette of three materials—stained birch veneer, hammered glass, and vibrated stainless steel—the pieces were conceived as "objects of presence." This term, unique to the studio, reflects creations made in the south of France that embody the firm's sober yet characterful DNA.

‍"The Light Library" by Studio Meaningfull: Coloring Light

Continuing their research into color, which began with the Agora du Design grant they won in 2021, Studio Meaningfull—comprising Marine Rouit-Leduc, Galilée Al Rifaï, and Nicolas Rouit-Leduc—presented "The Light Library" at Galerie Ideal Place. The exhibition showcased nearly four years of experimentation with the color of light, conceived not as a material, but as a means of interaction. Each shade was developed with reference to natural phenomena, such as the aurora borealis, dawn, and twilight, to achieve a realistic and natural effect. The trio displayed several light-based objects and sculptures, including the Milan lamp, which recently joined the Mobilier National collections. The exhibition was designed to engage the senses and emotions while establishing new chromatic references for light, through an approach that is both sculptural and architectural.

For its first participation in Paris Design Week, Frgmnt selected 43 designers and 11 material manufacturers, brought together to showcase a process and pieces imagined from forgotten or discarded industrial materials, scraps, and waste. Initiated by Meryl Benitah, the Frgmnt project began as a creative challenge launched last June. Over 48 hours, groups of designers, paired up for the occasion, imagined pieces using mediums often considered "undesirable". From wood to metal, the project also incorporated new materials, such as the one designed by Etnisi from windshields, or the Tissium developed by the company Maximum. "It was a bit like a hackathon format, but dedicated to design. We started with materials that were either salvaged or upcycled to show that reuse or even a second life can be desirable. Even though the participants didn't know each other, a certain creative synergy quickly emerged, and groups formed rapidly, managing to produce pieces in just two days", says Meryl Benitah.

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This initiative caught the attention of Sabrina Piperno, manager of the Heureux les Curieux space, who wanted to support the project by inviting Frgmnt to exhibit during Paris Design Week in September. "For this edition, the idea was to invite other material manufacturer partners to create, on one hand, this material library, and on the other, to bring in designers with the same approach. Whether through the material itself or the design manufacturing process", continues Meryl Benitah.

A new way of thinking about material

Spread over two floors, the exhibition presents unique worlds, united by a single ambition: to create from what already exists or to explore the potential of new materials. "There are many ways to make a well-designed object that meets market needs. Some use reuse, others respond through the material, while some do it through function. But they all tell a story through a piece, always asking how to create objects that are desirable in the long term." This inquiry led designers to partner with manufacturers, such as hors-studio, whose Caretta Caretta lamp was made from Celullio, a material developed in collaboration with Matériaux Urbains. The latter is also the creator of Paperio, a new medium that Atelier Alcova used to bring Tecto to life. Meanwhile, other creators are presenting original pieces born from their own unique processes. Notable examples include Atelier Perret, creator of the Séléné pendant light made from coffee grounds; the T65 vase designed from bread by studio Copain; and Emma Batsheva Cohen’s concept focused on optimizing vegetable leather.

Fostering connections

These diverse profiles and explored avenues aim to demonstrate that materials, initially overlooked, can become desirable once design takes hold of them. "My personal goal is to foster this link between manufacturers, designers, and specifiers by creating a beautiful ecosystem that will encourage them to collaborate and allow these pieces to find their way into hotels, restaurants, and support their development on a larger scale." With this exhibition, Meryl Benitah intends to build new bridges between key sectors of the design industry.

Neither a gallery nor a showroom, 28—located at 28 rue Jacob in the 6th arrondissement—aims to offer a new exhibition format. Conceived by Jacques Barret, founder of Triode, this new space invites the designers represented by the firm to go beyond simply showcasing their collections. For each exhibition, they are given carte blanche to reveal a more personal side of their creative world. For this inaugural invitation, Triode reunites with Jean & Oliver Pelle, four years after their first joint exhibition in Paris.

Two perspectives on material and light

Architects by training and based in Brooklyn, Jean and Oliver Pelle have developed a practice that sits at the intersection of architecture, craftsmanship, and experimentation. For the "Metallic Reverie "exhibition, the duo created ten works specifically for 28, all united by a single material: metal. Jean Pelle presents her Fountain lighting series, inspired by memories and landscapes observed in Korea and along the American coast, while Oliver Pelle explores the intersection of light, material, and space through his Light Objects. Two distinct styles, yet united by a shared focus on materiality. It is a fitting way to inaugurate 28 by showcasing exactly what this new venue aims to reveal: the intimate personality of the designers.

Created by Iratzoki Studio in 2011, Kuskoa established itself as one of Alki’s best-sellers with its oak shell design set on a solid wood trestle. During Paris Design Week, the brand unveiled Kuskoa M. Comprising a chair, two stools of different heights, and a bench, the collection was designed for restaurants, bars, canteens, and kitchens alike. With its various heights and typologies, this set can offer multiple configurations within a single space.
Featuring a powder-coated tubular steel frame, the seat develops a new graphic expression. Available in several finishes, it offers everyone the opportunity to compose their own piece, celebrating monochrome or, conversely, contrasts between metal, wood, and textile. Note that the shell can be upholstered in its entirety or only on the front.

It is a sentiment some might find overused, but design, beyond its commercial and aesthetic dimensions, must be utilitarian. This philosophy, often challenged in the context of collectible design and shifting trends, is shared by Athime de Crécy and Quentin Frichet. Both ECAL graduates, having trained under Philippe Starck and Erwan Bouroullec respectively, the two young designers have taken over Espace Brownstone in Paris until September 19. It is a white-box space where 35 stools are displayed—not for visitors to look at, but for users to experience. "We had wanted to create a self-service exhibition for a long time. We initially thought about doing it in a bar, but in the end, the typology of the object took precedence over the venue," explains Athime de Crécy. Here, behavior is not dictated by the decor—which is nonexistent, save for a central table and drink storage at the entrance—but by the very nature of the pieces themselves. Presented without pedestals or labels, the seats invite everyone to pick them up, move them around, and sit down, effectively transforming the gallery into a living space. "We believe that a design exhibition that separates objects from the public invariably loses an essential aspect of what makes the discipline so powerful." The social dimension is an imperative here, carried by the stool and its characteristically lighthearted tone.

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A shared idea expressed in every form

If a single object can spark different visions from one mind to another, *Bar stool* is the perfect illustration. A true synthesis of forms and materials, the exhibition is an ode to creativity. From the technical mastery of molded wood by Arthur Desmet to the high-tech 3D-printed stainless steel by the German studio Wint, the exhibition reveals a paradoxical coherence driven by the balance of diverse ambitions. "We didn't have to look far to find the designers. They are friends with whom we share a common sensibility for utilitarian and expressive design. We simply gave them total creative freedom, without even imagining that the projects might end up looking alike." A curation that gives this ephemeral refreshment bar its unique character and connects the aesthetic experience with everyday life. "It’s an approach that, in our view, draws the maximum amount of meaning from the minimum amount of resources."

With Aurora, Garnier & Linker blurs the lines between indoor and outdoor spaces. For this first foray into outdoor design, the studio does not break from its formal vocabulary but chooses instead to extend it. Several existing pieces have been reinterpreted, notably through the introduction of a new material: cast aluminum. Previously available in bronze or plaster, these light fixtures now take on a more architectural expression, adapted to the demands of outdoor use without sacrificing the studio's unique identity.

Material as a guiding thread

Used on its own for the Nezu and Kora wall lamps, or paired with alabaster for the Teree and Theo models, cast aluminum enhances the duo's ongoing exploration of materials and their interaction with light. In addition to these models, the collection features six new pieces: Aura, Cronos, Eos, Gaia, Retina, and Thala. Developed in the studio's workshop near the Fontainebleau forest, the collection continues a design philosophy where material and texture define the object. While aluminum naturally meets the requirements for outdoor use, these pieces are also designed to fit seamlessly into interior spaces. Presented as the first chapter of a growing range, Aurora aims to rethink outdoor lighting by breaking free from traditional conventions to fully integrate it into the studio's design language.

Set along a path imagined as an apartment—complete with a hallway, dining room, and living room—Polimair, Lucas Zito, and Tapicheri presented the aptly named "Trois-Pièces" exhibition. More than just a succession of objects, the exhibition plays on the dialogue between them and the complementarity of practices that pay special attention to materials and manufacturing processes. "The starting point for Trois-Pièces was the idea of bringing together three Parisian designers with very different yet complementary practices, following a 'curated ensemble' logic where we present a bench, a rug, and a light fixture—the fundamental elements of a welcoming space." says Arthur Gaudenz, co-founder of Polimair.

Three rooms, three worlds, three interpretations of material

For this exhibition, the designers offered new pieces from their respective worlds. First, Polimair presented its Baiji bench, a continuation of the stool of the same name introduced a few months earlier. The bench, developed in collaboration with Gabriel Fabrics, is a modular system with limitless configuration and assembly possibilities. Lucas Zito continued his experiments with 3D printing through his Patch collection, unveiling a large 240cm-long table in the dining room area, displayed alongside his Buoy lamps. Finally, the French rug design house Tapicheri, founded by Camille de Villartay, revealed the La Cité Perdue wool rug collection, designed specifically for the exhibition, with a 350 × 210 cm model as the centerpiece. "The biggest challenge of the exhibition was bringing together these three sets of ideas that are difficult to combine. On one hand, there's us, doing mass production; Camille from Tapicheri does bespoke work; and Lucas is focused on collectible, one-off pieces. So, these are projects that don't usually coexist," continues Arthur Gaudenz.

Pieces from very distinct worlds, then, but ones that, once brought together, assemble with perfect coherence. The "Trois-Pièces" exhibition successfully brought industry, technology, and craftsmanship together to offer a shared vision of contemporary living, while championing a design approach where innovation lies as much in the form as in the production method.

While Paris Design Week is keen to celebrate design in all its diversity, the field remains a relatively closed concept. It was based on this observation that Alexandre Delasalle and Pierre Castignola conceived an exhibition for this September edition to celebrate alternative typologies. "Over the years and editions, we were frustrated to see that the pieces presented were generally the same, ranging from chairs to tables to mirrors. Yet, my pop-culture aesthetic and Pierre’s very classic, everyday objects don’t fit into the codes of postmodern design.", analyzes Alexandre Delasalle. Convinced that the sector is more abundant than it lets on, the duo created an exhibition celebrating neglected objects.

A heterogeneous gathering

To help illustrate this diversity, the two friends invited 27 different profiles—designers and artists alike—to rework object archetypes. "Originally, Pierre and I thought of objects like a pizza cutter or a bucket, because these are objects that don't have a name in design. The former is usually inhabited by something else, like a superhero shape or an offbeat color, while the latter is so forgotten it becomes the zero degree of writing." Two opposing approaches—one loud and one silent—quickly expanded by the unique visions of the other creators. From the leather dishwashing gloves by Alice Clermont to the industrial toilet paper dispenser by Tim Teven, and the ceramic box topped with a spiked collar by visual artist Sacha Lefèvre, the approaches, sometimes very literal or more embodied, intertwine within the exhibition. "What seemed most important to us was to establish a corpus capable of surprising us. Overall, we knew all the profiles to varying degrees, but our discussions and reflections now allow us to exhibit very different objects, whether they were designed specifically for the event or not."

A creative bazaar

Inspired by the multitude of invisible objects that inhabit our storage spaces, Alexandre Delasalle and Pierre Castignola took an interest in bazaars. "These are spaces that bring together very contradictory elements, ranging from classics that can last a lifetime, like a frying pan, to very striking but sometimes very ephemeral things, like slippers." Drawing on the idea of these markets, the exhibition space, formerly a garage, has been shaped into a long, narrow layout. "What was interesting is that the notion of a bazaar isn't the same from one country to another. I have the one in Belleville in mind, but for other creators, it might be chain stores like Action. However, the idea of a small storefront with longitudinal aisles is common. We wanted to capture that feeling of entering the space.", explains Alexandre Delasalle. In keeping with this vision, the exhibition space features a long central shelf where a neo-futuristic hand brush and a baroque mini-fan straight out of a Disney movie engage in dialogue. "The scenography is DIY, using cinder blocks and storage racks, but it serves the concept. It’s the accumulation of a certain number of objects that gives the bazaar its spirit, not the other way around. And it’s this idea that gives 'take one just in case' a polyphonic quality," concludes the designer.

Drawing on a world of hip-hop and sports influences, Hall Haus presents its collaboration with Monoprix. As the studio's first large-scale project, the collection brings a trendy industrial style to a wide range of home furniture and accessories. We spoke with Sammy Bernoussi, one of the collective's four co-founders, about this contemporary approach.

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Hall Haus is often associated with an industrial aesthetic featuring perforated steel plates. Why did you choose to maintain this signature look for this collection?

While you do see plates with holes, I think we’ve moved away from that slightly by building a bridge to Prisunic, specifically through the use of bent tubing. We had experimented with this technique before, but it was difficult for us due to our small production volumes. The collaboration with Monoprix opened new doors in terms of form and materials—like chrome, which is prohibitively expensive for small runs. Furthermore, working with Monoprix gave us the opportunity to create a truly comprehensive range. Aesthetically, we wanted it to reflect our past work while also realizing ideas we hadn't had the chance to bring to life yet. There’s a lot of talk about Bauhaus these days, so we had fun blending Breuer’s tubular structures with our own DNA. This collection is a mix of history and our own language, particularly when it comes to color. As a reminder, "Hall" comes from apartment building lobbies and the sense of community those spaces evoke, while the second part of our name is a nod to our affinity for the modernist Bauhaus movement.

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The collection stands out for its wide variety of typologies. Why is that?

We were given total creative freedom. The initial idea was to offer back-to-school essentials since we were launching in early September. We wanted a student to be able to furnish their new apartment with something beautiful and affordable—maybe spending just 10 euros more to get a customized piece. We started by designing over 45 objects and ended up manufacturing 27. We selected accessible typologies, but we also decided to hybridize others. For example, we removed the dryer, but added bars to the room divider to give it a new function as a drying rack. It resulted in a really interesting piece for small apartments. I’m convinced that everyone can find something useful for their home in this collection.

Collectors are used to seeing color in your previous work. Yet, the collection you’re offering now seems to favor sobriety.

It’s true that the studio’s creations are often customizable in bright colors, but for our collaboration with Monoprix, we had to rationalize. We removed the pink, kept blue only for the shopping cart, and opted for yellow and beige—a neutral tone that remains in high demand. Then, we simply accented the collection with a touch of red as a nod to Monoprix. With the modernist chrome base, we had a lot of freedom in our color choices, so it all felt very natural.

Long associated primarily with manufacturing, China is now carving out a new position in the international design landscape. During Paris Design Week, designers, artists, architects, and publishers are unveiling three spaces in Paris that offer diverse approaches. Far from a single aesthetic, they are united by a shared focus on craftsmanship, materials, and the dialogue between heritage and contemporary creation.

Wu Bin gives shape to time

In the heart of the Palais-Royal gardens, the signature style of designer and interior architect Wu Bin is showcased through The Pavilion of Time, from September 9 to 17. Crafted from mirror-polished stainless steel and wrapped in a membrane inspired by Xuan paper, the structure evolves with the light and movement of its surroundings. Divided into three segments, the pavilion transforms throughout the day into a contemporary sundial, blurring the lines between art, design, and architecture.

"Good taste" according to Chinese design

From September 10 to 14, the China Creative Pavilion brings together around twenty brands and talents at the Paris Design Week Factory. Under the theme " Good Taste!, the exhibition explores the relationship between aesthetics, sensory experience, and utility. Among the featured projects, Anta has partnered with artist Liu Tong for a paper installation inspired by its ANTA FOLD technology, while SDCC transforms discarded ceramics from Jingdezhen into architectural cladding, blending porcelain craftsmanship with a circular economy.

When art meets everyday life

Finally, the "Form Before Form" exhibition, presented at Espace AUBE from September 9 to 19, marks the European debut of YUAN, a project founded in Beijing by Song Tao. Ceramics, painting, floral art, and organic installations converge here, reflecting a vision of design as an extension of artistic research and a way of living. Notably, ceramicist Du Qinfen presents the YUAN Collection 01, which translates her artistic vocabulary into everyday objects.

For a long time, we have confused novelty with progress. As if moving forward necessarily meant replacing. As if an object, a material, or a building lost all value the moment it had been used. This logic has shaped our interiors as much as our economy: produce, entice, sell, forget. Then start over. Again and again. Now, reality forces us to look at what already exists in a new light. It is not about giving up on creation, and certainly not about giving in to nostalgia.

On the contrary, it is about expanding the scope of design. Repairing, transforming, reusing, reconditioning, repurposing. All these actions require as much intelligence as creating from scratch. Perhaps even more. Because working with what exists imposes constraints, a history, and, sometimes, scars. The designer no longer starts with a blank page. Today, they are writing the next chapter.

Contents

Design 360

Design Story

Second life, The age of secondary materials

In the meshes of Iranzo

Maximum, matter in a state of change

James Shaw: Colorful aggregates

Issey Miyake, biophilic experience

Furniture for Good: matter takes shape again

Sander Wassink, making do

Lucie Gholam, reconstructing a narrative

Rikkert Paauw, composing with the existing

SEA LÍA: plastic surgery

.Oddity Fragrance, scented design

Dirk van der Kooij, the memory of plastic

ecoBirdy: at a child's height

Semper & Adhuc, time reclaimed

hors-studio, raw materials

deco.and, extravagant silence

Redesign, (Re)embodying the object

Publishers, collective consciousness

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Materials

Fab.BRICK, rebuilding the wall

Antonin Mongin, the design fiber

Loumi Le Floc’h, summer light

Rezign, textiles reinvented

pierreplume, the fibers of reuse

Kami-Kami, when materials change status

In-situ

What is already thereOne Yard, from one industry to another

K5: Constant value

Atelier Craft, untold stories

Experimenta

Sustainable Practices Laboratory: when material reshapes the project

In the Air

Artisans of Excellence Fair: spotlight on materials

Technogym x Intramuros Competition: winners of the second edition

Hyline: blurring the boundaries

Studio MTX: embroidery on a grand scale

EquipHotel: highlights from the 2026 edition

Events

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