Paper and textile designer, Lucie Touré works the first with the techniques of the second, in an artisanal approach which has seduced the luxury sector by its aesthetic singularity, and by the preciousness and the delicacy which it confers on its materials, conducive to the creation of displays, ornamental elements and other refined decorative panels.
It is by placing craftsmanship at the heart of her artistic practice that designer Lucie Touré had the idea of working with paper by bringing it closer as a material to textile techniques, but also to jewelry. By sublimating it through cutting, weaving or embroidery, she transports it to a new universe that she primarily intends for the luxury sector. “I discovered the technique of origami when I was a child and, subsequently, paper is a medium that very often came back in my school work, then in my personal practice”, explains- she. “I studied embroidery at the Duperré school and textile design at the Decorative Arts in Paris. And when I created my workshop in 2018 following my first professional experiences, I was keen to maintain an artisanal textile practice while trying to offer a new offer to the luxury sector. The idea of combining paper work and textile know-how then germinated in my mind and the first pieces were born. »
Among these, there are many design sets, displays and other ornamental elements for perfume bottles, champagne bottles and other jewelry. The extremely delicate floral ornaments that she designed for the Cherry Blossom and Muguet 2021 vintages of Guerlain are particularly remarkable. They translate the strong constant of flowers in his aesthetic, but also certain sensitivities such as this attraction for Japan and the culture of “hanami” (which refers to the highly prized visual spectacle in Japan of the blossoming of cherry blossoms). “Maison Guerlain is the first to have trusted me on a project of such scope,” she continues. “I had carte blanche to create two ornaments that adorn Muguet and Cherry Blossom, two vintage perfumes that are produced in limited editions each year. These two fragrances celebrate spring and in both cases I wanted to create a light and fresh set using different skills. Cherry Blossom was imagined as a jewel, while Muguet is made using needle embroidery techniques. »
L’ensemble du secteur du luxe dans le viseur
Au sein de son atelier parisien, Lucie Touré travaille avec son équipe à la réalisation de ses projets, entièrement fait main. Et si elle est particulièrement fière de la prouesse technique qui a permis d’y créer les 4 500 parures produites pour Muguet et les 2 500 pour Cherry Blossom, elle y dévoile aussi d’autres supports de son expression créative, avec notamment ses panneaux décoratifs pour l’architecture d’intérieur, comme les modèles Triptyque et Odyssée. « En créant mon atelier, j’avais envie de collaborer avec l’ensemble des acteurs du secteur du Luxe : architecture d’intérieur, décor de vitrine, packaging, mode, en proposant une offre entièrement sur-mesure, qui réponde aux besoins spécifiques de chacun », se félicite-t-elle. « C’est très enrichissant. Chaque projet par sa singularité vient nourrir ma pratique personnelle et me permet d’explorer de nouveaux champs d’application. »
The singularity of her work has enabled Lucie Touré to receive several awards such as the “Emerging Talent” prize, which was recently awarded to her by the Grands Prix de la Création de la ville de Paris. A great satisfaction for a designer who has been associated with the Ateliers de Paris since the birth of her workshop. “My residency at the Ateliers de Paris from 2018 to 2020 was a tremendous springboard in the development of my business,” she admits. “I am very happy and honored to have received this prize from such a prestigious jury, headed by Laura Gonzalez, whose work and career I greatly admire. It’s a real encouragement, both financially and in terms of visibility” .
En 2019, elle avait d’ailleurs remporté le prix design Tour Eiffel, avec son projet Fragments : la création d’un motif pour application sur objets (carnets, pochettes, sacs) à l’occasion des 130 ans du monument qui démontre que son savoir-faire laisse ouvert bien d’autres perspectives. « Ce projet n’était pas si éloigné de ma pratique puisque j’ai appris durant mes études à concevoir des motifs textiles », tempère-t-elle. « Bien que la dimension artisanale n’était pas présente, j’ai suivi les mêmes étapes de création et de conception qu’habituellement. Tous mes projets commencent par un travail de composition, d’association de couleurs et de matières. »
Laurent Catala
