Désirée de Lamarzelle : Is your work on one-off pieces driven by an artistic approach or a commitment to sustainability?

H.V.D.S.: There has never been a premeditated strategy. I threw myself into creating with an almost instinctive urgency whilst I was still a student at art school. In my second year, I set up my own business in response to growing demand for my jewellery. Self-production naturally became my guiding principle: producing my own pieces and overseeing every stage of the process.

Gradually, I set up a workshop and a team, and my work with metal took me from bronze to light fittings, mirrors and then furniture. Twenty-five years ago, I opened my gallery, crafting a world that has been enriched through collaborations and the integration of expertise within my workshops. It has been an organic evolution, guided by my intuitions and desires.

Désirée de Lamarzelle : You began your career at art school. Do you see yourself more as a contemporary artist or a designer?

H.V.D.S.: The term ‘designer’ suits me perfectly. Being a designer means creating everyday objects as well as more exceptional pieces, without necessarily claiming to be an artist. The boundary between the two is blurred: some artists adopt a commercial approach, whilst designers may frame their work within a purely artistic pursuit. It’s all a question of positioning and intention.

Désirée de Lamarzelle : You’re often described as a pioneer of ‘collectible design’.

H.V.D.S.: That’s true. I began creating self-published objects as early as the 1990s, at a time when this model was still relatively uncommon. There were only a few of us in France pursuing this path: Garouste & Bonetti, Éric Schmitt, André Dubois… We formed a small circle, an experimental microcosm. What characterises our approach is an intimate connection to craftsmanship: we work using traditional methods, with a focus on limited-run, high-quality production. My main commitment today lies above all in passing on this expertise.

Désirée de Lamarzelle : Does the return of 1980s furniture and ornamental design signal the end of Scandinavian minimalism?

H.V.D.S.: Today, everything coexists. There are no longer any dominant trends, but rather a multitude of approaches. If we were to characterise our era, we could say that it oscillates between a sculptural aesthetic and a return to curves, natural wood and soothing colours. Following the 2000s, characterised by faceted forms and angular, structured lines, we have entered an era where softness prevails.

Désirée de Lamarzelle : Which artists inspire your work?

H.V.D.S.: My vision draws on a variety of influences: architecture, French and Japanese decorative art, and contemporary art. I’m fascinated by Malevich and Ettore Sottsass. I also love 18th-century furniture; its extreme sophistication and masterful craftsmanship captivate me.

Désirée de Lamarzelle : Your work oscillates between balance and tension, between solid and void. How would you describe your creative process?

H.V.D.S.: Every creation is a quest for balance and disruption. I want to push the boundaries of form ever further, to open up new perspectives. My current exhibition, ‘Antidote’, takes this radical approach to its logical conclusion: the Antidote console table illustrates this quest for tension between volumes in apparent equilibrium, playing with perception and illusion. It all begins with a line. The pencil is my primary tool, long before the computer. I work first on the structure, then comes the material that will bring the object to life. Sometimes it’s the other way round, but the rigour of the drawing allows me to anchor my ideas.

Désirée de Lamarzelle : There is also this marriage between raw form and extreme refinement.. .

H.V.D.S.: Yes, the Network Maison console table is a good illustration of this duality: its pipes, initially raw, are shaped with extreme meticulousness until they become truly precious objects. In all my creations (chandeliers, tables, console tables), geometry, even when deconstructed, reigns supreme.

Désirée de Lamarzelle : When did you realise that design and creation would be your language?

H.V.D.S.: The turning point came at the age of 16, when I discovered museums. An art teacher at secondary school also played a decisive role. Yet my path wasn’t set in stone: I was on the science and technology stream with the ambition of becoming an engineer. I learnt industrial design, precision and rigour in design. My time at art school then fostered a freer, more intuitive approach. These two aspects, rigour and spontaneity, still coexist in my work today.

Désirée de Lamarzelle : Is your attention to detail, evident in both your drawings and your finished pieces, essential to your work?

H.V.D.S.: It is essential. Starting out with jewellery design taught me to work on an extremely small scale, which demands absolute rigour. As I’ve changed scale, that demand has simply carried over. Cabinetmaking, by its very nature, requires extreme precision: every detail is calculated to a tenth of a millimetre. My travels to Japan have also reinforced this quest for accuracy.

Désirée de Lamarzelle : You have your own cabinet-making and bronze workshops. What role does craftsmanship play in your approach?

H.V.D.S.: It’s central. My workshops in Bagnolet bring together cabinet-makers and bronze-casters. Passing on this expertise is a fundamental responsibility. Without the artisans’ expertise, my designs would be nothing more than sketches. Dialogue with them lies at the heart of my work.

Désirée de Lamarzelle : Your creations are held in the Mobilier National and the Musée des Arts Décoratifs. What does this institutional recognition mean to you?

H.V.D.S.: It is an honour. Seeing my pieces become part of this heritage confers a legitimacy that extends beyond the realm of contemporary creation, placing them within the broader history of the decorative arts.

Article written by Désirée de Lamarzelle to be found in volume 11 of Oniriq Magazine

Translated by Bethszabee Garner