It probably started quite early, though not in a very obvious way. I was always drawn to objects, to the way things were made and how they carried traces of time. I remember being fascinated by interiors, furniture, materials — not necessarily in a conscious “design” sense, but more as atmospheres. I think that curiosity eventually led me to study interior architecture.

Camondo was very formative. It’s a school that really insists on the relationship between design and history, which resonated deeply with me. You’re constantly encouraged to look at architecture, decorative arts, literature, philosophy. It’s not just about designing objects or spaces, but about understanding where forms come from and how they evolve over time.

Yes, quite naturally. I’ve always felt that contemporary design shouldn’t exist in isolation. When you study decorative arts or architecture, you realize that many ideas reappear throughout history in different forms. I’m interested in that continuity — how certain archetypes persist, and how they can be reinterpreted in a contemporary context.

Probably during my graduation project. I started thinking about objects as fragments of narratives rather than purely functional pieces. That idea stayed with me. Since then, most of my projects begin with research — sometimes historical, sometimes literary, sometimes architectural — and then gradually translate into objects or interiors

Through encounters, mostly. Many of the artisans I collaborate with come from backgrounds in restoration or heritage crafts. They possess extraordinary knowledge of materials and techniques. Working with them changes the way you think about design, because the process becomes very collaborative. You’re constantly adapting the project to the possibilities of the material and the expertise of the maker.

It probably started quite early, though not in a very obvious way. I was always drawn to objects, to the way things were made and how they carried traces of time. I remember being fascinated by interiors, furniture, materials — not necessarily in a conscious “design” sense, but more as atmospheres. I think that curiosity eventually led me to study interior architecture.

Camondo was very formative. It’s a school that really insists on the relationship between design and history, which resonated deeply with me. You’re constantly encouraged to look at architecture, decorative arts, literature, philosophy. It’s not just about designing objects or spaces, but about understanding where forms come from and how they evolve over time.

Yes, quite naturally. I’ve always felt that contemporary design shouldn’t exist in isolation. When you study decorative arts or architecture, you realize that many ideas reappear throughout history in different forms. I’m interested in that continuity — how certain archetypes persist, and how they can be reinterpreted in a contemporary context.

Probably during my graduation project. I started thinking about objects as fragments of narratives rather than purely functional pieces. That idea stayed with me. Since then, most of my projects begin with research — sometimes historical, sometimes literary, sometimes architectural — and then gradually translate into objects or interiors

Through encounters, mostly. Many of the artisans I collaborate with come from backgrounds in restoration or heritage crafts. They possess extraordinary knowledge of materials and techniques. Working with them changes the way you think about design, because the process becomes very collaborative. You’re constantly adapting the project to the possibilities of the material and the expertise of the maker.