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In Paris, an Apartment Built on Heirlooms and Wicker (Published 2022)
The article explores the Parisian apartment of Benoît Rauzy and Anthony Watson, founders of the design studio Atelier Vime, in Saint-Germain-des-Prés. The apartment, originally Rauzy's childhood home, embodies a deep connection to the past through its blend of family heirlooms, vintage furniture, and the couple's contemporary wicker designs. Rauzy's parents moved into the two-floor flat in 1953, a time when the neighborhood was a hub for artists and intellectuals. His father, a dentist, ran his practice from the first floor, serving the diverse residents of the area. Decades later, Rauzy and Watson have transformed the apartment into both a living space and an occasional showroom for their work, maintaining much of its original character.
Atelier Vime specializes in making wicker furniture relevant again, drawing inspiration from Modernist designers like Charlotte Perriand and Tito Agnoli. Their journey began 16 years ago with a collection of woven furniture. In 2014, after purchasing an 18th-century hôtel particulier in Vallabrègues, they discovered its history as a basket-weaving workshop, which inspired them to start their own business. With the help of Raphaëlle Hanley, a former creative director at Yves Saint Laurent, they began dealing in vintage pieces and producing their own designs, known for balancing handcrafted warmth with refined forms. Their creations range from leaf-shaped wall sconces to daybeds with scalloped rattan skirting, including the signature Aramis pendant lamp, which requires extensive braiding.
For Rauzy, the Paris apartment is a repository of memories, largely unchanged since his return in 2002 to care for his ailing father. The home's entrance leads into a small galley kitchen painted deep forest green, featuring modular plastic Kartell storage units from Rauzy's parents. The space unfolds through an enfilade of narrow rooms with worn herringbone parquet floors. A small lounge showcases a 1940s raffia armchair by Adrien Audoux and Frida Minnet, alongside wicker panels from Atelier Vime displaying 19th-century ceramic plates. The dining room contrasts a white lacquered Eero Saarinen tulip table with historical wooden antiques, including an 18th-century rosewood commode that belonged to Rauzy’s grandmother and an empire armchair with tapestry upholstery.
The apartment is also filled with an extensive art collection, primarily 1920s and 1930s works acquired at auction. Notable pieces include an oversized plaster bust by Margaret Cossaceanu, a smaller terra cotta bust by Josep Clarà, and wartime pencil drawings believed to be by Marcel Duchamp. Many artworks were acquired through exchanges with artist friends of Rauzy's parents, who often stayed in the apartment's former maid’s suite, now a guest room. This tradition continues with Rauzy and Watson, who collaborate with artists like Wayne Pate for rattan and hammered-copper cabinets and Marie Victoire de Bascher for hand-printed linen tablecloths. These collaborations foster a sense of community, reflecting a natural way of living that honors both personal history and artistic connection.
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