Nido Architecture Displays Artistry at the Drawing Hotel in Paris

This week, Paris is hosting a diverse array of art and design events, with the return of Art Basel Paris and Design Miami Paris for their third editions. The French capital's historical venues, including _hotels particuliers_ and landmark apartments, are showcasing collectible design that explores experimental and multidisciplinary approaches, from textile-like treatments of solid surfaces to the integration of music with design. This roundup highlights the most compelling design exhibitions available to explore during this period. India Mahdavi presents a triple bill of collaborative exhibitions. Her Project Room #20 features 'Parenchyma,' a solo exhibition by studio Kauani, displaying cactus-shaped sculptural lights, an intimate study of xerophytic plants, created by Inés Llasera and Inés Quezada. Her Tiny Room gallery hosts an exhibition of anthropomorphic chairs by Serban Ionescu, reflecting his Balkan origins and an improvised approach to wood. Additionally, Mahdavi collaborates with culinary collective We Are Ona for _Rose C'est La Vie_, a flower-clad restaurant pop-up with Mexican chef Jesús Durón, whose interiors evoke Mahdavi's iconic APT club in New York. Perrier Jouët returns to Maxim's for the second year with its 'Parenthèse Belle Époque,' transforming the legendary Art Nouveau venue with stained glass windows, Émile Gallé anemones, and vintage posters. This event includes exclusive gastronomic pairings by Maxim's chef Yann Meinsel and Maison Belle Époque executive chef Sébastien Morellon. Charles Zana unveils his new _In Situ_ furniture collection within a 500-square-metre Directoire apartment, formerly home to the Swedish Circle. The exhibition presents a 'fantasy' interior that mixes Zana's works to create an emotional experience rather than just an aesthetic. The display also features a coffee bar by pastry star Yann Couvreur and a soundtrack by Sébastien Tellier and Ray Mang. The Contributions design festival, curated by Anna Caradeuc and Élise Daunay, hosts its second edition, intertwining design and music through five installations. Highlights include Nifemi Marcus-Bello's M2 Shelf with an integrated speaker, in collaboration with La Boîte Concept, and Italian musician Andrea Laszlo De Simone's audiovisual piece _Una Lunghissima Ombra_, accompanied by a natural wine bar and micro-cinema by Harold Mollet and the design collective Metals. The inaugural Salon des Nouveaux Ensembliers, held at the Galerie des Gobelins under the patronage of France’s manufactures nationales (Sèvres and Mobilier national), brings together a new generation of interior architects. Under the theme ‘L’Ambassade de demain’ (the embassy of tomorrow), ten architect-decorators reinterpret diplomatic spaces, focusing on how design can embody representation, openness, and exchange while addressing ecological and social responsibility. Salon 94 Design showcases Massimiliano Locatelli and Fabio Zambernardi's 'Nullus Locus,' a collection of objects featuring embroidery on timber, transforming wooden vessels and furniture into unexpected canvases for floral designs, realized with the expertise of Graziano Ricami. Additionally, 'Un Souffle De Vent' by Yves Salomon Editions X Dimorestudio presents an immersive installation inspired by Georges Perec’s novel _Les Choses_, emphasizing contemplation of objects through tactile surfaces and a rich material palette. Nilufar and Métaphores present 'In The Mood for Touch,' an immersive installation exploring the tactile and emotional potential of interiors through their respective design and textile works. CØR Studio, Harold Mollet, and Monument present 'Im Zwischen,' a group exhibition exploring the 'in-between' as a bridge between historical and contemporary design, featuring a 10-metre light wall by François Chapuis and iconic designs by Ron Arad and Ingo Maurer. LVH Art showcases Donald Judd's minimalist work within a grand Parisian residence, providing a compelling contrast with ornate French interiors. Finally, Invisible Collection and Féau Boiseries exhibit 'Period Rooms of the Future,' where previously unseen Art Deco elements form the backdrop for contemporary pieces, bridging the cultural continuity between the 1920s and today's collectible design. Galerie Patrick Seguin hosts 'Saint Laurent – Charlotte Perriand,' where Anthony Vaccarello has selected and recreated four of Perriand’s lesser-seen works, produced in limited editions from archival drawings and original models. #ParisDesignExhibitions #ArtBaselParis #DesignMiamiParis #InteriorDesign #CollectibleDesign #IndiaMahdavi #CharlesZana #ContemporaryArt #FrenchDesign

Friedmann & Versace is an interior architecture studio based in Paris, founded in 2018 by Virginie Friedmann and Delphine Versace. The duo specializes in designing restaurants, bars, hotels, boutiques, homes, and custom furniture, emphasizing a sophisticated 'art de vivre.' Their design philosophy centers on creating a dialogue between historical and contemporary elements, using a blend of colors, materials, and objects from various styles and periods to tell a unique story for each project. Notable projects include eateries like Bistrot Rougemont and Baby Doll. The article features an interview with Friedmann and Versace, discussing their approach to narrative design and their inspirations. They delve into two of their recent restaurant projects in Paris: Matilda and La Riviera. The Matilda project began when a client sought to open an Italian restaurant in a space with large windows and Art Nouveau wooden decorations, honoring his Italian grandmother. The designers aimed to retain these existing features while creating a poetic, dreamlike atmosphere. Their inspiration for Matilda came from Milanese reception rooms, the aesthetic of frescoes aged by time, and the elegance of Italian furniture, blending different eras and styles. For La Riviera restaurant, the vision was to evoke an endless summer and a Mediterranean journey. The design draws inspiration from the Mediterranean coast, the scent of pine trees, enameled, raw, and varnished terracotta, the architecture of cruise ships, and the artistic world of Jean Cocteau. The primary challenge for La Riviera was to construct an immersive environment that transports diners to a different setting, despite its location in a busy Paris neighborhood near Gare du Nord, devoid of a natural seaside view. Friedmann and Versace observe that restaurant design trends have evolved significantly over the past decade, with owners increasingly prioritizing distinct designs. Their narrative design approach involves crafting a unique story for every project, focusing on developing lifestyle spaces with soul and personality. They extend their design work beyond mere decoration to include graphic elements such as logos, menus, signage, and the selection of tableware and music, ensuring a cohesive and perceptible story throughout the customer experience. Their French design heritage significantly influences their work. They express admiration for designers like Charlotte Perriand, Roger Capron for his ceramic paintings, and Madeleine Castaing for her patterns. Their earliest design memories include a Gabriella Crespi bronze and rattan lamp and Charlotte Perriand's furniture for Le Corbusier's La Cité Radieuse. They draw inspiration from industry figures such as Janine Abraham and Dirk Jan Rol, appreciating their collaborative spirit, compositional skills, respect for traditional craftsmanship, and shared creations. Dimore Studio is also cited for their singular projects and adept blending of colors, styles, and eras. Virginie Friedmann describes her own home as a Haussmannian apartment in Paris, characterized by large windows, velvet accents, green-hued lamps, and a mix of contemporary and vintage furniture, ceramics, candles, and plants. The studio has several upcoming projects, including two new restaurants in Paris slated to open by year-end: one designed as an Estancia's winter garden in the 8th arrondissement and another as a warm, elegant country house with a fireplace in the 13th arrondissement. In 2020, they plan to complete two houses near Paris, a skin studio concept, and a showcase at Hotel Lutetia. For leisure reading, both designers enjoy lifestyle magazines, and Delphine Versace recently reread Virginia Woolf's "A Room of One’s Own." #InteriorDesign #RestaurantDesign #ParisianDesign #NarrativeDesign #FrenchDesignCulture #DesignInspiration #FriedmannVersace #HospitalityDesign #ResidentialDesign

Paris Design Week 2024, held from January 18 to 22, showcased a diverse array of new launches in fabric, wallpaper, lighting, and furniture across various arrondissements of the French capital. Despite sub-zero temperatures, the event attracted significant crowds, with St Germain serving as a central hub for Paris Deco Off and Maison Objet In The City, hosting over 100 showrooms, apartments, and pop-up spaces. Key highlights included Dedar Milano's 'Contemporary Archives' collection, which featured an eclectic mix of classical and contemporary styles. Noteworthy were three new interpretations of their woven jacquard tiger’s skin, available in varying scales of deep orange tiger-print fabrics. Sahco, with its 200-year textile legacy, presented designs inspired by 'Neo-classicism in the North,' including 'Deedee' (a graphic polka dot), 'Fiorella' (an epic flower design), and 'Satora' (a vibrant leopard print). Loro Piana showcased new products focusing on personalization for various home areas, displayed in an apartment with Eiffel-designed ceiling beams. Their offerings included customizable tablecloths, placemats, runners, linen napkins with embroidery and openwork, organic cotton and linen bedding, and a cashmere blanket with chevron ribbon options. They also introduced the 'Sils Stripe' rug, handwoven in New Zealand wool, and new indoor fabrics like Harris Tweed interpretation (Hebrides), a cashmere and wool mix (Khangai), a hemp/jute/cotton/viscose blend (Tusco), and an ultra-soft cashmere and linen (Ponente). A selection of outdoor fabrics with high recycled content was also featured. Studio Liaigre presented a capsule collection of five pieces, including seating and lighting, originally designed by Christian Liaigre for Hotel Costes, embodying clean lines and simplicity in neutral palettes. Delcourt Collection celebrated its 30th anniversary with the 'Piece By Piece' series of contemporary furniture and new textiles, reflecting Christophe Delcourt's discreet French excellence, highlighted by the 'Nin' console and the 'Oko' side table. The Socialite Family curated 'La Scopa' in a classic Parisian apartment, drawing inspiration from a centuries-old Italian game. This temporary exhibition featured their latest furniture, homeware, and art, intertwined with items from Puces de Saint-Owen, with the 'Rotondo' modular sofa being a standout piece. Tolix unveiled the completed 'Patio' collection by the late Pauline Deltour, showcased at the Septieme Gallery, extending the iconic galvanized chair line with considered design, material finishes, and colors. Ligne Roset announced a series of 18 designs by midcentury designer Pierre Guariche, to be released through Cinna. Creative director Michel Roset emphasized Guariche's natural fit with Ligne Roset's avant-garde ethos, with pieces like the 'Vallée Blanche' chaise longue expected to launch in May 2024. Project 213A, founded in 2020, debuted at Paris Design Week with sustainable, well-crafted furniture and homeware, including lighting, artisanal ceramics, and handcrafted wooden pieces like the 'Mirror' lounge chair and 'Porto' modular sofa, made by local craftsmen in Northern Portugal. Little Greene introduced 'National Trust Papers IV,' its fourth collaboration with The National Trust, featuring eight wallpaper designs from historic properties in freshly imagined, contemporary colorways. Rubelli, under new creative directors Formafantasma, launched the 'Gardens' collection, a botanical-themed range with literal and abstract designs in sherbet hues. Hermès unveiled a new tableware collection by Benoît-Pierre Emery, featuring fine drawings by Virginie Jamin inspired by equestrian braiding, colored in tangy hues of lemon, mint, and petrol blue alongside natural leather shades. Fromental collaborated with Marta Sala Éditions for 'The New Guilded Age,' showcasing four distinctive wallcoverings—Haiku, Molten, Equus, and Kiku Garden—in curated rooms with Marta Sala Éditions furniture. #ParisDesignWeek #InteriorDesign #FurnitureDesign #TextileDesign #Wallpaper #HomeDecor #LuxuryInteriors #DesignExhibition #FrenchDesign

This article discusses a recent art installation at the Dior Homme store in Paris, created by young Italian artist Andrea Mastrovito. The installation, inaugurated last Thursday, features a multitude of black decoupage butterfly replicas. These replicas are intricately arranged to serpentine across the ceiling and walls of the store's white interior, evoking a visual parallel to birds in flight, albeit with a less menacing and more aesthetic appeal. The project was specifically commissioned by Kris Van Assche, the artistic director for Dior Homme. His inspiration for this particular installation stemmed from his Fall/Winter '08 collection, which prominently featured butterfly motifs. This collection integrated butterflies into various clothing items, ranging from blazers and t-shirts to uniquely designed butterfly-shaped bow ties, showcasing a whimsical and distinctive aesthetic. The installation consists of nine thousand individual black decoupage replicas, meticulously placed throughout the boutique. The visual effect created by these numerous replicas is one of dynamic movement and artistic grace, transforming the space into an immersive experience for visitors. The choice of black for the butterflies against the white backdrop of the store enhances their visual impact, making them stand out as a striking design element. Mastrovito's work is intended to be a temporary exhibition, enhancing the store's ambiance for a limited period. The installation is scheduled to remain on display for one month, after which it will be dismantled. This temporary nature adds to its exclusivity and artistic appeal, encouraging visitors to experience it within its specific timeframe. The Dior Homme store, where this installation is housed, is located at 25 rue Royale, Paris 8ème. This address is a notable location in Paris, contributing to the prestige and visibility of the art project. The collaboration between a contemporary artist like Andrea Mastrovito and a high-fashion brand such as Dior Homme highlights a growing trend of integrating art into retail spaces, creating unique brand experiences that go beyond mere product display. Such initiatives serve to blend fashion, art, and design, offering a multifaceted engagement for the audience. The installation not only serves as an artistic statement but also as a homage to Kris Van Assche's past work and his enduring influence on Dior Homme's aesthetic. By reinterpreting a key motif from a previous collection, the project bridges different periods of the brand's creative history, providing a sense of continuity and evolution. The detailed craftsmanship involved in creating and installing nine thousand decoupage pieces underscores the dedication to artistic quality and the immersive experience sought by both the artist and the brand. This event contributes to the cultural landscape of Paris, positioning Dior Homme not just as a fashion retailer but also as a patron of contemporary art. #DiorHomme #AndreaMastrovito #ArtInstallation #ParisFashion #FashionAndArt #RetailDesign #KrisVanAssche #DecoupageArt

Japanese design studio Nendo presented their solo exhibition titled “Dancing Squares” at the Art Stage gallery in Singapore, which ran from January 13th to January 16th, 2011. The exhibition showcased a collection of furniture pieces including a bookshelf, a lamp, a stool, and a table, all characterized by a design aesthetic that gives the illusion of distorted or tumbling squares. This collection aims to imbue a sense of motion into static objects. The core concept behind the “Dancing Squares” series involves assembling square elements in a way that suggests dynamic movement. For instance, the bookshelf in the collection features a design where a part of its structure appears to be frozen in a cascade of tumbling planes. This creative approach introduces variation in how books can be stacked and displayed, moving beyond traditional linear arrangements. Another piece, the stool, is designed with a distinctive twist, providing it with a visually playful appearance. This design choice contributes to the overall theme of dynamic forms within the collection. The lamps in the exhibition are engineered to roll and remain stable, thanks to their carefully arranged planes, which also allow them to cast light in multiple directions, enhancing their functional and aesthetic versatility. Perhaps one of the most striking pieces is the table, which gives the impression of leaning or falling away. Despite this precarious visual effect, the table maintains its full functionality. The design also creates an optical illusion where objects placed on its surface appear to sink into its folds and sways, challenging perceptions of stability and form. These various movements and distortions are intended to create a fascinating interplay between balance and unbalance, making the planes of the furniture seem to dance. Nendo’s exhibition at Art Stage, located at Basement 2, Hall D at Marina Bay Sands, Singapore, was open to the public without an admission fee. The photographs of the collection were captured by Masayuki Hayashi. This exhibition provided insight into Nendo’s innovative approach to design, where everyday objects are reimagined with a fluid and dynamic sensibility, transforming conventional furniture into artful expressions of motion and form. #Nendo #FurnitureDesign #Exhibition #ProductDesign #ArtStageSingapore #SquareMotif #InnovativeDesign #InteriorDesign #JapaneseDesign

French design firm Le Berre Vevaud, comprising Raphaël Le Berre and Thomas Vevaud, undertook the transformation of a three-floor hôtel particulier in Paris’s 16th arrondissement into a functional and luxurious family home. The project aimed to integrate the art of living with comfort for an art-collecting couple and their two children. The initial impression of the property revealed grand volumes and abundant natural light, necessitating extensive redesign. The designers focused on the first-floor living area, dining room, and kitchen, creating an open-plan layout to maximize natural light. To address the six-meter-high ceilings, a mezzanine level was constructed. This elevated platform now serves as an office overlooking the dining room and offers a view of an olive tree. This intervention cleverly utilized vertical space while maintaining the flow and original decadent character of the property. Adjacent walls were opened to create a larger lateral room, framing views between the living and dining areas. The dining room features a cloudy gold leaf canvas by Anne Féat Gaiss, a black round-legged Olbia cabinet from Le Berre Vevaud’s own furniture collection, minimal Sophie S’Assoit chairs from Maison Dada, and a custom marble table beneath a vintage 1950s eight-arm chandelier. The living room showcases mural artwork by Martin Berger, black wood sculptures by Charles Kalpakian, Ignazio Gardella armchairs, and a cantilevered bronze coffee table by Yann Dessauvage. A carved screen in cut-out brushed oak veneer was added to partition the sitting area from the entranceway elevator, which connects to street level. The design draws inspiration from a combination of materials and textures, spanning the Art Deco period to the bold colors and forms of the Memphis movement. Le Berre Vevaud's expertise extended beyond architectural ingenuity to interpreting the couple's extensive art collection within a domestic context. In the entranceway, a 17th-century portrait by Hans Hansen Rasch is casually displayed above a custom Belize bronze console. A bedroom features a Sophie Calle photograph and a pink and gold patterned de Gournay screen by David/Nicolas, alongside a custom-designed bed, presented in an unassuming manner. The home not only provides a backdrop for a diverse art collection—including modern and contemporary sculptures, photographs, paintings, and classical pieces—but also incorporates a 1,000-square-foot spa. Le Berre and Vevaud repurposed part of the ground floor courtyard for this zen-like space. The staircase leading to the spa features dark materials and waxed concrete to create a subdued atmosphere and mimic natural stone textures. Under a gridded skylight, a raised platform houses a circular Jacuzzi. Opposite, a shower room and hammam sauna are adorned with minuscule mosaic tiles designed in collaboration with Beton Blanché, aiming to transport the owners into a tranquil environment within their home. #ParisianHome #HôtelParticulier #LeBerreVevaud #LuxuryDesign #ArtCollectorsHome #SpaDesign #InteriorArchitecture #FrenchDesign #Mezzanine #ArtIntegration

The NoMad Hotel, located in Manhattan, offers a unique blend of Old World charm and modern-day influences, making it a distinctive destination for travelers. The hotel opened in a fully restored, turn-of-the-century Beaux-Arts building, with interiors designed by French designer Jacques Garcia. Garcia is renowned for his ability to integrate 17th- and 18th-century European aesthetics with contemporary design elements, a style evident throughout the hotel. Upon entering the guest rooms, visitors find reclaimed maple hardwood floors adorned with handmade vintage Heriz rugs, complementing French mahogany writing desks. The emphasis on luxurious comfort is further highlighted by linens, bedding, and bathrobes supplied by Sferra and Frette, along with Argan bath amenities. Many rooms elevate the bathing experience with the inclusion of freestanding, clawfoot bathtubs, offering a touch of classic indulgence. Art plays a significant role in the hotel's ambiance, with each room featuring pieces from a carefully curated art program. This collection includes vintage correspondence, antique travel collectibles, and original sketches and photography by contemporary artists, designed to immerse guests in a journey of discovery and intimacy. The aesthetic extends to common areas, where opulent textiles provide a rich and inviting atmosphere, and the staff's uniforms, designed by Bespoken, a New York-based menswear collective, reflect English tailoring traditions. A notable feature of The NoMad Hotel is its two-level library, which is connected by an original spiral staircase imported from the South of France and includes a mezzanine catwalk. This space provides a tranquil retreat for guests. Culinary excellence is a cornerstone of the hotel experience, with the restaurant managed by Chef Daniel Humm and Restaurateur Will Guidara, both acclaimed for their work at the three-Michelin-star-rated Eleven Madison Park. The stately dining room is characterized by dark oak furnishings and richly textured fabrics, creating an elegant setting. An original fireplace, sourced from a French château, adds historical grandeur to the common areas. The bar area features a dramatic 24-foot-long mahogany bar, and guests can enjoy a unique beer crafted exclusively for The NoMad by brewmaster Garrett Oliver of Brooklyn Brewery. A sunlit atrium dining space is created by natural light filtering through a glass roof, offering a bright and airy environment. The architectural firm Stonehill & Taylor played a crucial role in the historical renovation and conversion of the 1903 Johnston building into The NoMad Hotel. Beyond its design, the hotel is praised for its prime location at 1170 Broadway & 28th Street in New York City and its exceptionally friendly staff. The hotel's design highlights include European-style bathrooms with free-standing tubs and the distinctive curated artwork, all contributing to a memorable stay that blends historical elegance with modern comfort. #HotelDesign #InteriorDesign #LuxuryTravel #NewYorkCity #HistoricRenovation #BeauxArtsArchitecture #FrenchDesign #BoutiqueHotel #ManhattanHotels

French artist JR has executed an optical illusion at the Louvre in Paris, making I.M. Pei's renowned glass pyramid appear to vanish. This intervention, which involves covering the pyramid with a black and white photographic simulacrum of the palace's grand architecture, creates an 'anamorphose' that perfectly aligns with the Pavilion Sully in the background. The project, which took place in May 2016, showcases JR's signature monumental photographic gestures, though this particular installation marks a significant shift from his usual focus on human faces. JR, known for his large-scale photographic projects in various global locations like the favelas of Rio de Janeiro and the Tate Modern, has primarily used human portraits to create iconic statements that emphasize demographics. However, his Louvre project represents an audacious architectural intervention. The glass and steel structure of the pyramid is camouflaged by an exceptionally precise scan of the historical building behind it, effectively transforming a modern architectural element into an extension of the classical Louvre façade. This initiative was undertaken in collaboration with the Louvre, which has a tradition of inviting contemporary artists to create temporary site-specific works. Discussions for the project began approximately a year before its execution, with technical details meticulously planned and implemented by the same specialists who worked on JR’s 2014 installation at the Panthéon. The installation process involved applying a specialized film that, upon close inspection, reveals an abstracted pattern resembling Ben-Day dot pixilation. JR confirmed that this film was designed not to leave any residue on the glass once removed. Every intricate detail of the pyramid's entry, from its recessed framing to the door pulls, was covered with pieces of the image to ensure total visual continuity and enhance the illusion. A notable aspect of the project is its self-funded nature, a principle JR maintains as crucial to his artistic practice. He emphasizes that his work is deeply intertwined with contemporary media and technology, utilizing digital photography, social networks, and a global presence without corporate branding. Despite the Louvre pyramid being a divisive structure among some Parisians, JR clarified that his project was not intended as a critical commentary on I.M. Pei’s design. Instead, the artist aimed to encourage a different kind of interaction with the pyramid, offering an ephemeral reinterpretation of an institution deeply rooted in preservation. JR acknowledges that the debate over whether the Louvre was ‘better before’ the pyramid is generational, noting that he grew up with the structure. The anamorphic image strategically covers only the outward-facing side of the pyramid, ensuring that visitors can still experience Pei's original creation from other vantage points. The project generated significant public interest, with queues forming to witness the 'disappearance.' To further engage the public, JR organized interactive programming over 24 hours, featuring artists such as Daniel Buren, Felice Varini, and Agnès Varda. These public events elevated the project beyond a mere artistic stunt, fostering a collective memory and shared experience. JR expressed his fascination with how the public would discuss, share, and remember the image once it was gone, anticipating that these memories would evolve and amplify the reality of the installation. The exhibition, titled *JR au Louvre*, ran until June 27th, and further details about the 24-hour program were available on the Louvre's official website. The installation was located at the Musée du Louvre, 75058 Paris, France. #ArtistJR #LouvrePyramid #OpticalIllusion #SiteSpecificArt #ContemporaryArt #IMPei #Paris #ArchitecturalIntervention

The July London Victoria, an apartment-hotel located across from Victoria Station, offers a unique blend of residential comfort and hospitality services, catering to both short-term guests and long-stay digital nomads. Situated in a prime London location, this 114-key "urban retreat" integrates public-facing hospitality spaces, including The Idler restaurant and an associated deli, designed to provide a calming environment amidst the city's fast pace. These establishments offer urbanites an opportunity to relax and connect. The hotel's interior design, a collaboration between an in-house design team, the London and Los Angeles-based firm Fettle, and architects Studio Moren, skillfully combines comfort with adaptability. The design aesthetic pays homage to the Art Deco architecture prevalent in the area, incorporating sea foam greens, pale pinks, salmony oranges, and burgundy reds across various surfaces such as tiled walls, intricate crown detailing, and two-tone walls. The public spaces, like The Idler, feature plush banquette seating, a distinctive ceiling mural within bold molding, and herringbone-pattern parquet flooring accented with tile trim. White and black marble slabs top curved-edge counters, which are clad in tambour pattern wood slatting, adding to the sophisticated ambiance. Specific design elements like painted glass sphere pendants and select fabric upholstery contribute to the overall refined aesthetic. Accommodation options include guest rooms, suites, and two Family Apartments with interconnected rooms, alongside a co-working space, all equipped to support various aspects of guests' lives, from relaxation to remote work. The layouts are thoughtfully designed to facilitate these diverse needs. In the guest rooms, custom oak joinery provides integrated wardrobes, kitchenettes, and storage solutions. Bespoke brass pendants and discrete bedside lights with fluted shades further enhance the personalized and functional design. This thoughtful approach ensures that guests have all the necessary amenities for an extended stay, whether for business or leisure. Sustainability is a core value for The July brand, and this commitment is reflected in the material choices and furnishing strategies employed throughout the hotel. A notable aspect of the interior furnishing involves the careful sourcing and refurbishment of vintage pieces, aligning with contemporary trends in architecture and design that prioritize environmental consciousness and unique, characterful aesthetics. This approach not only supports sustainable practices but also imbues the hotel with a distinct personality that resonates with its historical context and the modern traveler's desire for authenticity. The July London Victoria differentiates itself within the hospitality sector by fostering a balance between private living and social engagement, a strategy it aims to replicate in its expanding portfolio across Europe. Andy Goodwin, co-founder and creative director of Fettle, emphasized that the design concept was developed to reflect The July’s brand values and its narrative, which is deeply rooted in the local area's history. He highlighted the multifunctional nature of the apartment-hotel rooms, which needed to accommodate relaxation, dining, and work within each apartment, complemented by dedicated meeting, flexible, and wellness areas. This holistic design ensures that the hotel serves as a comprehensive urban retreat, offering a seamless experience for its varied clientele while maintaining a strong connection to its London setting and a forward-thinking approach to hospitality. The hotel offers flexible accommodation options and shared facilities designed to create a vibrant community while still allowing for individual privacy. Its location near a major transportation hub makes it an ideal choice for a diverse range of travelers. Overall, The July London Victoria represents a contemporary solution for urban living, blending design, functionality, and sustainability to create a memorable stay experience. #apartmentHotel #LondonTravel #ArtDecoDesign #digitalNomad #sustainableDesign #interiorDesign #hospitality #urbanRetreat #fettleDesign

Art Nouveau, a pervasive design movement from 1890 to 1910, distinguished itself through its characteristic sinuous curves, intricate ornamentation, and stylized interpretations of natural forms. Drawing inspiration from Japonisme and the English Arts and Crafts movement, Art Nouveau emphasized material experimentation, allowing artists to translate the beauty of the natural world into highly individualistic expressions. Many prominent figures of the movement delved deeply into nature or traveled to diverse locales, seeking inspiration from unfamiliar flora, fauna, and insects. The core genius of Art Nouveau artists lay in their capacity to render the organic delicacy of natural forms using rigid materials such as glass, wood, and metal. Specialists like Victoria Tudor from Christie's Design department highlight the pivotal role of glassmaking, woodcarving, and marquetry during this period, with fruitwoods, mahogany, and satinwood being common choices. Designers skillfully manipulated structured materials to evoke the movement found in nature, mirroring the forms of flower stems or leaves. The masters of Art Nouveau, including Tiffany, Gallé, and Daum, excelled in working with their chosen materials, transforming themes and emotions into tangible art forms rather than merely words. Several key designers significantly shaped the Art Nouveau movement. Daum, founded in 1878 by Jean Daum, initially produced tableware. However, under the artistic direction of Antonin Daum and Henri Bergé, the company embraced floral designs in colored and cameo glass, greatly expanding its artistic range and production volume. Daum also engaged in significant collaborations, notably with Louis Majorelle, a key figure in the Ecole de Nancy, resulting in notable pieces like the 'Nénuphar' table lamp. Emile Gallé, another founder of the Ecole de Nancy and based in the glassmaking hub of Nancy, France, created works celebrated for their elegant forms, rich colors, and nature-inspired decorations. He pioneered experimental techniques such as glass marquetry and acid etching, creating complex layered glass pieces, often with inclusions like gold leaf. Gallé also introduced 'verreries parlantes' or 'speaking glassware,' which incorporated poetic inscriptions, requiring the viewer to interact with the object to read them. René Lalique dominated Art Nouveau jewelry and decorative objects. After achieving fame for his modern jewels, he began experimenting with glass around 1890. Lalique later opened a shop at Place Vendôme, showcasing both his jewelry and glass objects. He revolutionized the perfume industry with his glass bottles and, by the 1920s, focused exclusively on glassmaking, developing a distinctive technique of contrasting clear and frosted glass. His extensive output included numerous vases and other mass-produced items, and his business continues to thrive today, having adapted to subsequent styles like Art Deco. Louis Majorelle, renowned for his woodworking, operated a substantial atelier that produced a wide range of furniture, from standardized designs to exclusive commissions. He worked with a diverse palette of global woods, creating tonal designs, gradients, and fine art-like floral marquetry. Majorelle was a vice president of the Ecole de Nancy and maintained multiple shops across France. Tiffany Studios, led by Louis Comfort Tiffany, focused on stained glass design and production. Working with skilled American artisans, Tiffany Studios developed patented processes, such as for iridescent Favrile glass, and created iconic leaded glass lamps. Tiffany drew immense inspiration from his estate, Laurelton Hall, which was meticulously designed to reflect his artistic vision and served as a retreat for artists. Despite the estate's destruction by fire, the legacy of Tiffany Studios endures through its vibrant lamps and other decorative creations in glass, ceramics, enamel, and metalwork, which remain highly valued by collectors. The global influence of Art Nouveau extended to various international variations and localized movements. Italian designer Carlo Bugatti produced architectural furniture, while the Vienna Secession featured artists like Gustav Klimt. Cities such as Barcelona, with Antoni Gaudí's works, and Paris, with Hector Guimard's contributions like the Métro entrances, showcase the ambitious scope of Art Nouveau creators. The interplay between architecture and furniture design was crucial for many Art Nouveau designers, underscoring the holistic nature of their artistic approach. These diverse examples highlight the widespread and transformative impact of the Art Nouveau movement on design and art across Europe and beyond. #ArtNouveau #CollectingGuide #DecorativeArts #DesignHistory #Glassmaking #FurnitureDesign #TiffanyStudios #EmileGalle #ReneLalique #LouisMajorelle #Daum

This article, a "Letter from the Editor" by Hanya Yanagihara, discusses the philosophy of interior design, particularly emphasizing the value of personal expression and individuality over highly polished, decorator-driven aesthetics. Yanagihara describes the continuous process of discovering unique residences for publication in T Magazine, highlighting that while many stories come from traditional sources like publicists and architects, the most captivating ones are often found serendipitously. She recounts a specific instance where an editor, Nick Haramis, researching artist collectives, stumbled upon Espace Aygo. This collective of young art-school graduates transformed a dilapidated Brussels townhouse into a unique living space by designing and crafting almost every element themselves, from a sink fixture made from a pétanque ball to a tub from urethane rubber. The discovery of Espace Aygo is presented as a pivotal moment for the magazine, offering a refreshing contrast to the prevailing trend of overly refined interior design. Yanagihara posits that a truly memorable home is not one that adheres strictly to conventional politeness or current trends but rather one that reflects the distinct vision and hands-on effort of its inhabitants. The Espace Aygo residence exemplifies this philosophy, showcasing that authenticity, imagination, and a personal point of view are more crucial to creating a home than significant financial investment. The article suggests that such spaces celebrate ingenuity and creativity, proving that a home's character is derived from the unique perspectives and personal touches of those who live in it, rather than from external influences or a desire for perfection. This approach challenges the commercialization of taste in design, advocating for a more genuine and lived-in aesthetic. Espace Aygo, despite its unconventional and perhaps 'rougher' aesthetic, is celebrated for its wit and imagination, qualities that Yanagihara argues are fundamental to the essence of a home. The piece implicitly critiques the homogenizing effect of professional decorators, where residents' tastes can be overshadowed by external design mandates. Instead, it champions spaces where the creative process and the individual's journey are evident, fostering a sense of authenticity and a strong identity for the home. The narrative underscores that the magazine actively seeks out and values these types of unconventional and personally crafted living environments, viewing them as more compelling and inspiring than those that strictly adhere to prevailing design norms. The article thus serves as a declaration of T Magazine's editorial stance, emphasizing the importance of unique design narratives that challenge traditional notions of interior perfection. #InteriorDesign #HomeDecor #EspaceAygo #ArtistCollectives #DIYDesign #BrusselsDesign #PersonalExpression #AuthenticHomes

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

This article explores a New York home designed by Ania Dunlop, founder of Home for Zen, which draws significant inspiration from modern Parisian aesthetics. The renovation aimed to blend Parisian chic with a Mediterranean setting, resulting in a vibrant, modern, and sophisticated family home. The residence, located near NYC, underwent a complete gut renovation to harmonize clean lines, luxurious textures, and a soft color palette while preserving its original grandeur and architectural elements. The design emphasizes a unique fusion of styles, celebrating both traditional elegance and contemporary flair. One of the key lessons highlighted is the enhanced Parisian flair achieved through the strategic incorporation of art. Ania Dunlop prioritized modern art and murals to inject a sense of 'happiness and youthful energy' into the space, creating a balanced and inviting ambiance. The collection includes pieces from local galleries, with a notable mention of "Eternal Kate Moss" by Patrick Rubinstein, an interactive three-dimensional artwork that offers dynamic perspectives as viewers move around it. Murals are also utilized as an alternative to traditional wallpaper or paint, serving to transform the mood of each space. For instance, a tropical green wallpaper in the sunroom brings nature indoors, while a monochromatic black-and-white willow mural in the studio adds elegance and tranquility without overstimulation. The second lesson focuses on layered decor for pops of color and curated furnishings. Ania meticulously collected furniture and artworks over time, aiming to fill her home with heirlooms rather than mass-produced items. This approach ensures that every piece tells a compelling story of passions and experiences, making the home feel personal and exquisitely curated. The designer advocates for buying fewer, higher-quality items with a focus on workmanship and sustainability, a philosophy she extends to her clients by introducing them to artisans and handmade pieces. This thoughtful layering of decor contributes to the Parisian flair by creating a sense of timelessness and individuality. Luxe materials form the third essential element of the design. Ania is drawn to modern organic aesthetics that incorporate materials such as marble, ash, rift oak, shearling, mohair, bouclé, and handmade ceramics. These materials are used to create layered and edited interiors that are warm, serene, and authentic. Marble, in particular, is highlighted for its timeless elegance, natural beauty, and reflective qualities that enhance natural light, making spaces feel brighter and more open. The combination of marble with wooden elements, like a walnut floor lamp and an oak side table, adds richness and balance. Textiles such as plush rugs, throw pillows, and upholstery in complementary colors and textures introduce warmth and comfort, providing a contrast to hard surfaces and making the rooms more inviting, as seen with shearling ottomans and textured leather lounge chairs in the living room. The fourth lesson involves a calming color palette. While many Parisian homes feature bright white walls to maximize natural light, this home uses Decorator’s White from Benjamin Moore, a sleek, near-grey shade that brightens the space without strong undertones. The decor then punctuates these white walls with color. The muted color palette is intentionally applied to the ground floor's open-concept layout to create a seamless flow between rooms while still allowing each space to have its unique personality. The design emphasizes simplicity, the incorporation of nature, and the use of textures, soft colors, and modern bright artwork, all contributing to a harmonious feel throughout the home. Finally, the article discusses the preservation and enhancement of architectural elements. The home's traditional ornate crown molding was retained to maintain a grand scale reminiscent of Parisian design. Architectural features like the grand double staircases were streamlined but preserved, and windows were altered to a floor-to-ceiling style to welcome in abundant natural light. This thoughtful integration of existing architectural grandeur with modern design principles breathes new life into the space, marrying timeless elegance with a contemporary flair and creating a cohesive and sophisticated aesthetic. #HomeDesign #ParisianStyle #InteriorDesign #LuxuryMaterials #ArtIntegration #ColorPalette #ArchitecturalElements #ModernHome #NewYorkDesign

This article presents an interview with Parisian interior designer Rebecca Benichou, founder of Batiik Studio. Benichou, originally trained as an architect in Brussels, established her studio in 2014 after gaining experience at ChartierDalix. She explains her preference for interior design over architecture, citing a more direct connection to people's well-being and the immediate satisfaction of pleasing clients. Benichou's design philosophy emphasizes creating layered spaces that integrate materials, textures, colors, and forms in innovative ways. She attributes the prominent role of light in her designs to her upbringing in the South of France, which also influences her warm, sun-faded color palettes of pink, yellow, and green, as well as her use of organic, rounded forms. Despite not explicitly creating "Mediterranean" designs, a distinct warmth permeates her work. The interview delves into Benichou's career path, revealing that she initially pursued architecture due to her aptitude for math and attraction to art. She discusses her current work on condominium projects and her particular passion for designing small spaces. She views the challenge of fitting all necessary elements into a compact area, such as 10 square meters, as an exciting puzzle, a perspective rooted in her architectural background and focus on functionality. Looking ahead, Benichou expresses a desire to undertake more projects in the hospitality sector, including restaurants, bars, and hotels. She also dreams of designing a kindergarten, attracted by the imaginative potential of spaces for children and the opportunity to create environments full of positive energy. She cites Luis Barragán as a significant inspiration in the design world, admiring his minimalistic approach and bold color choices, which she likens to Le Corbusier but with added warmth through color. The article highlights a recently completed project, Bar Divine in Paris, which Benichou describes as chic yet welcoming. The design process for the bar involved incorporating existing elements, such as raw concrete walls discovered beneath wood paneling and original, slightly aged mirrors and a brass bar. These elements were polished, retained, and augmented with additional mirrors to enhance the sense of space and abundance. The aesthetic draws inspiration from the 1980s while respecting the found characteristics of the space. Benichou also shares insights into the design of her own apartment, which she envisioned as a completely open space, devoid of doors (except for the toilet and bathroom), to improve flow. She aimed to create a welcoming environment for entertaining friends and a feeling of being on holiday. Her apartment features a natural material palette, including a concrete pink floor, terracotta in the bathroom, and tiles in colors reminiscent of the South of France, complemented by curtains that contribute to a warm and cozy atmosphere. She particularly values her custom-designed dining room table and a vintage hand-painted 1950s lamp by Dante Baldelli, which she describes as an object she had a long-standing affection for. Her studio, Batiik Studio, located near Montmartre, is depicted as a comfortable, social space with a storefront, open to the street and even frequented by a neighbor's cat, contributing to a home-like ambiance that clients appreciate. #InteriorDesign #RebeccaBenichou #BatiikStudio #ParisianDesign #SmallSpaceDesign #ArchitecturalInfluence #HospitalityDesign #ColorPalette #Materiality

The search for compelling interior design stories is an ongoing endeavor for T Magazine's staff, with the director of design and interiors, Tom Delavan, primarily responsible for finding residences to feature. However, story pitches can come from various sources, including publicists, architects, interior decorators, writers, and photographers. The most exciting discoveries often arise through more serendipitous means, such as word-of-mouth recommendations or accidental encounters, a dynamic that has become an internal office joke where editors are encouraged to inquire about interesting houses during any meeting. A particularly noteworthy discovery occurred when editor-at-large Nick Haramis was researching artist collectives. He learned about a group of recent art-school graduates who were not only conceptualizing unique, unconventional furniture and decor but were also actively producing these items themselves. This collective, known as Espace Aygo, transformed a dilapidated building in a bustling Brussels neighborhood into their shared living and working space, where they crafted nearly every element of their home, including a sink fixture made from a pétanque ball and a bathtub from urethane rubber. While the initial artist collectives story never materialized, the scouting photographs of Espace Aygo immediately revealed its potential as an unforgettable home story for the magazine. This discovery is particularly significant in an era characterized by often overly polished interior design, where a homeowner's personal style can be overshadowed or even dictated by their decorator. Espace Aygo serves as a powerful reminder that a home achieves true memorability not through adherence to conventional politeness or perfection, but by expressing a distinct point of view and showcasing the creative effort of those who inhabit and shape it. It underscores the idea that creating a unique and personal living space does not necessarily require substantial financial resources, but rather demands perspective, imagination, and a commitment to authentic self-expression in one's environment. The author expresses a personal affinity for Espace Aygo's aesthetic, indicating a willingness to reside there. Even for those who may not share this specific taste, the collective's inventiveness, resourcefulness, and imaginative spirit are undeniable. Ultimately, these qualities are presented as the fundamental components that truly define and enrich a home, highlighting the value of individuality and creativity over conventional design standards. #InteriorDesign #HomeDecor #EspaceAygo #ArtistCollective #DIYDesign #Brussels #CreativeLiving #UnconventionalHomes

The Nobu brand, co-founded by Robert DeNiro and chef Nobu Matsuhisa, has expanded from its initial restaurant in Tribeca into a global empire encompassing 40 restaurants and 20 luxury hotels by the end of 2020. This expansion includes two significant new properties in North America: Nobu Hotel Los Cabos and Nobu Hotel Palo Alto. Nobu Hotel Los Cabos, which opened in March, features 200 guest rooms, infinity pools, and a spa, situated on the Baja Peninsula's southern tip. The architectural design integrates Japanese aesthetics with Mexican influences. Guests are welcomed through a Zen-inspired courtyard that leads to a panoramic view of the Pacific Ocean, framed by a stone portal. The hotel's layout prioritizes ocean views, particularly the Pacific sunsets. Interior design reflects Japanese minimalism, incorporating elements such as teak soaking tubs and shoji screen-inspired closet doors in guest rooms. Local Mexican materials, geometric artwork, and vibrant color accents add indigenous character to the minimalist design. Nobu Hotel Palo Alto, designed by Montalba Architects, is undergoing a multimillion-dollar renovation and rebranding, with its opening slated for 2020. This boutique property will offer 73 rooms and a two-story signature restaurant. Despite its urban setting in Silicon Valley, the hotel will feature an outdoor plant and sculptural landscape. Interior lighting will include John Wigmore light fixtures crafted from Japanese paper. Catering to its tech-centric location, the hotel will provide advanced technological amenities such as 82-inch televisions and in-room Alexa devices. The high-end Ryokan rooms will further enhance the luxury experience with freestanding wood soaking tubs and slatted teak wall paneling. The design philosophy across Nobu Hotels emphasizes "unpretentious luxury." Robert DeNiro describes his preference for designs that are simple, elegant, functional, practical, and devoid of excessive ornamentation, stating that rooms should be rooted in a sense of reality. This approach is evident in the understated yet chic minibars at the Palo Alto location and the lush, streamlined pools at Los Cabos. Beyond design, the culinary experience remains a cornerstone of the Nobu brand. Chef Nobu Matsuhisa ensures that local ingredients, techniques, and staff are integrated into each hotel's dining offerings. This commitment extends to supporting local communities, as seen with the employment of Mexican staff at the Los Cabos property. The partners, including Robert DeNiro and Meir Teper, acknowledge occasional disagreements over their 25 years of collaboration but emphasize their strong, family-like bond, driven by a shared commitment to developing properties in optimal locations with the right teams. This collaborative approach underpins their successful expansion into the luxury hotel market. #NobuHotels #LuxuryHospitality #HotelDesign #JapaneseMinimalism #ArchitecturalDesign #RobertDeNiro #NobuMatsuhisa #InteriorDecor #SiliconValley

For the past three decades, Imprimerie du Marais (IdM) has been the go-to printing house for Paris' discerning brands, handling a variety of intricate projects, including offset-printed invitations for Dior's haute couture show and magazine production for Samuel Ross with unique printing techniques. As of June 2021, the company has relocated from its historical Marais district base to a new 1,500 sq m facility in Cité Griset, a 19th-century industrial complex in the 11th arrondissement of Paris. This new home, a former foundry and factory building, has been meticulously redesigned by the French architecture studio Ateliers Saint-Lazare (ASL). Mélody Maby-Przedborski, IdM’s communications director, refers to the new location as a “forgotten treasure.” The building, originally opened in 1825 by Antoine Griset, a renowned precious metal founder, was a purpose-built operation that included worker apartments and industrial spaces. After Griset moved in 1920, Cité Griset was segmented into various factories and workshops. IdM specifically took over a former cardboard box factory that necessitated a full structural overhaul. They commissioned Ateliers Saint-Lazare, co-founded by architect Antoine Ricardou, who is also a long-standing client of IdM. ASL, known for its comprehensive approach spanning branding, architecture, and interior design, has an impressive portfolio that includes prominent establishments such as the Merci concept store and Le Pigalle hotel in Paris, and the NoMad hotel in New York. Ricardou drew inspiration from IdM’s “audacious courage” in establishing a center of craftsmanship within central Paris. His vision was to create a contemporary creative factory that honored the building's historical roots while simultaneously looking to the future. Maby-Przedborski highlights Ricardou’s intention to restore the building’s manufacturing purpose, utilizing wood and glass extensively instead of steel. ASL designed and incorporated precise bespoke cabinetry, contrasted against pristine white walls and exposed ductwork, resulting in a bright, modern interpretation of a pre-war workshop that avoids mere imitation. The renovated building functions as a grand atelier, comprising eight interconnected workshops capable of handling a wide array of printing techniques, including lithography, foiling, embossing, four-color printing, letter pressing, and screen printing. This interconnectedness was a primary driver for the relocation, facilitating a seamless flow of work between different processes. Beyond its functional aspect, IdM’s new home also serves as a showcase for advanced printing and paper-based arts. A significant structural modification implemented by Ricardou was the introduction of a large, open staircase. This design not only connects the building’s three levels but also enhances natural light and provides a unique viewing platform, immediately immersing visitors in the dynamic energy of the workshops. The expanded space is designed to host live events and discussions exploring the intersection of art and craft. Crucially, the design emphasizes collaboration; IdM aims to provide a transparent environment where clients can observe the printing processes, grasp the capabilities, and engage in creative partnerships with the printers. This approach allows clients to be inspired by IdM’s expertise, fostering a collaborative atmosphere where ideas can evolve through interaction and observation. Surrounding the workshops, Ricardou designed a series of wood and glass offices, offering both views of the industrial activity and a comfortable, warm working environment. Maby-Przedborski notes that Ricardou successfully balanced industrial function with creative inspiration, aligning with the creative energy found in leading fashion, design, and music studios. The additional space also enables brands to document the workshops through videos, allowing them to share and promote their dedication to craftsmanship with a wider audience. IdM recognizes that in an increasingly digital world, printed materials have become critical tactile touchpoints, symbolizing craft, care, and materiality. This focus on the physical experience of print, especially evident in the performative nature of unboxing videos on platforms like YouTube and Instagram, highlights the enduring value of high-quality printing and packaging. IdM’s expertise is deeply rooted in Paris’s local economy, where luxury brands consider packaging and printed materials integral to their brand identity, demanding the same level of precision and artistry from their printers as from their seamstresses. Founded in 1971 by Charles Przedborski, IdM initially focused on books and stationery. His son, Jacky, joined 20 years later, steering the company toward creative experimentation, tackling complex commissions for leading fashion and luxury brands. IdM has since expanded its reach, establishing relationships with creative agencies and galleries globally, including an outpost in London and plans for expansion into the US. Maby-Przedborski emphasizes IdM’s commitment to innovation and sustainability, showcasing samples of unique materials like paper made with glucose (to attract bees), compostable wood fibers, seed-impregnated paper, and paper derived from powdered stone. The company also utilizes natural inks for screen-printing and upcyclable foils, offering new tactile and sensory experiences that enrich the printed product and align with modern environmental values. #ArchitectureRenovation #IndustrialDesign #ParisArchitecture #AteliersSaintLazare #ImprimerieDuMarais #PrintingIndustry #SustainableMaterials #Craftsmanship #InteriorDesign

Faye Toogood, a British designer, has launched her latest furniture collection, "Lucid Dream," showcased at two New York galleries: The Future Perfect in the West Village and TIWA Select in Tribeca. The exhibition runs from May until June 21, coinciding with the NYCxDesign festival. The collection is notable for its fusion of fine art and furniture, with each piece individually hand-painted by Toogood herself in her London studio, following fabrication by small-scale artisans. "Lucid Dream" presents an experimental and intuitive approach to artmaking, utilizing existing furniture lines such as the Roly Poly Dining Table set and the Gummy furniture line as canvases. Toogood enhances these pieces with expressive and often haphazard painted motifs and shapes, giving them a sculptural quality. David Alhadeff of The Future Perfect characterized the collection as evoking the atmosphere of a "moody evening with Faye," highlighting its vibrant creative energy and expressive color palette, particularly evident in the living space display at The Future Perfect. At the TIWA Select gallery, the nocturnal influences of "Lucid Dream" are emphasized, with Toogood showcasing crumpled lighting made from Japanese paper. These lighting pieces are also adorned with linear improvisations, demonstrating the designer's distinctive artistic style. Alex Tieghi-Walker, founder of TIWA, expressed his belief that "Lucid Dream" underscores the significance of handmade, one-off design. He further remarked on Toogood's ability to bridge the conceptual gaps between two galleries, each with distinct philosophies regarding design and craft, through a cohesive body of work. The collection’s methodology involves a deeply personal touch, transforming functional furniture into unique art objects. Toogood's practice combines industrial design principles with fine art techniques, resulting in pieces that blur the boundaries between the two disciplines. The exhibition aims to offer visitors an immersive experience into her creative process, where each piece tells a story through its spontaneous and dreamlike aesthetic. This approach not only showcases Toogood’s artistic vision but also champions the value of bespoke craftsmanship in an era of mass production. Overall, "Lucid Dream" serves as a testament to the power of artistic expression within functional design. Toogood’s decision to hand-paint each item ensures that every piece is distinct and imbued with an individual character, reinforcing the concept of art as an integral part of daily living. The dual exhibition across two prominent New York galleries highlights the collection's versatility and its capacity to engage with different interpretive spaces, from the domestic setting of The Future Perfect’s townhouse to the more art-focused environment of TIWA Select’s studio. #FayeToogood #LucidDream #FurnitureDesign #FineArt #HandPainted #NYCxDesign #TheFuturePerfect #TIWASelect #Exhibition