it's an association of so many things, an aggregate between emotions, travels, encounters, people around me, nature and the elements, light, certain films. it builds a narrative that touches me and something that takes my breath away. then begins a process of transformation, of hybridization, of mixing these elements in which I cause intentional accidents, looking for spaces in which I go out of my comfort zone. I like to see it as a journey, a quest "in between", a sensory wandering.
who are the people who are references for you in your job?
for very different reasons, i'm thinking of azzedine alaïa for the very new and unique model he was able to impose on the system through his irreverence and loyalty; of yoji yamamoto because he was a revolutionary and for his categorical refusal to compromise and his mastery of cutting; of madeleine vionnet for his architectural genius.
what compliment would you like to hear where to hear again in your profession?
it wasn't meant as a compliment at first, but a woman once said to me while putting on one of my pieces: "i feel more myself with this garment than before i put it on". to hear that is to have the feeling that one has achieved one's goal, because it is exactly our function as designers to propose a habitat, a mode of expression, an experience of identity that brings people back to themselves. It is this type of emotional reaction that we are looking for, I thought then that she was going to keep this garment all her life, a garment that would become a witness of her passage, her identity and her history. that's the function of fashion.
the city or destination that inspires you or resembles you?
yunnan is a mountainous province that lies between vietnam, laos and tibet. at this confluence, some fifty different ethnic groups live together, hybridizing know-how and traditions. it's a kind of hippieland where artists and backpackers meet around the locals. that's where I operate my reboots.
I’m an instinctive person. I let myself be carried along by my emotions, sensations and desires, and the opportunities that come my way. I'm not always rational. I try to stay true to my primary aspirations and instincts. I believe we have a lucky star that watches over us or charts our course. I don't like clutter. I need purity. I regularly go through my belongings. They need to stimulate my emotions. The clothes and objects I own have a story and each reminds me of something; they have a function. I would rather invest my time in the community than material things. Days only last twenty-four hours; it is better to use them to build relationships than to be looking to make a profit in some way or the other.
Which ideas inform your creative work?
I like fluidity, and moving, fuzzy shapes, transition and perpetual transformation. Clothes are complete when they are worn; they must feel as natural as breathing to the wearer.
Who do you dream of dressing?
I would have loved to have designed for Michael Jackson. I would have added shiny crystals, something to project a video on, and maybe created an interaction with his dance moves. I would also dream of dressing fka twigs. I am very inspired by her gestures. she brings an almost cosmic and cellular vibration to everything she touches, beyond reality. seeing her express herself in her art is a real sensorial experience.
What has been your biggest challenge?
I produced up to eight collections a year, with a new creative vision every time, and managed projects on the side. I needed to give myself space to breathe, to work at pace, with the seasons following on from one another without end. I always find it frustrating to work in cycles. It is a rhythm that leaves no room for error, whereas this error is often a magical act.
Do you have daily rituals that you follow?
When I start a project, I always give myself some extra time. I allow for a destructive phase in my project, a period of latency and time wasting. That’s how I would define luxury. The real luxury is to be able to waste time, wander, doubt things, destroy everything you have done and then go beyond it, and never to lock yourself in your own cabinet of curiosities.
Anything decorative, superfluous or ornamental; form without function. It’s my personal taste, but it adds weight to my thinking. Ornament is like an unbearable noise to me..
Where’s your favourite spot, the place where you can usually be found?
I like to walk around the Buttes Chaumont or spend time on my terrace from where I can see the whole of Paris. I often go to the OFR bookstore, where they select and hone knowledge very carefully, or to Deyrolle, which is such an inspiring place. I also like "Le Très Particulier", a small restaurant which manages to be both really beautiful and cozy.
Your most cherished object? How much does it weigh?
My father gave me some fossilized dinosaur eggs he found at the Drouot auction house. They bear witness to the passage of time; a memory of eternity and origins. They take you places and put things in perspective. Their combined weight is 20 kg.
What has weight in your life?
My daughter. My most beautiful creation. Everything else is fleeting.
Which LE GRAMME objects do you own? How do you wear them?
I have several bracelets in 925 Sterling Silver, 925 Black Sterling Silver, with a pyramid guilloché pattern, and two bracelets from the recent Beads collection. What I like about Beads is the contrast between the traditions of the pearl necklace and the elementary nature of the precious metal. There's an element of latency here too, as we don't really know how to react to this hybrid object, which is so simple yet coldly sensual. I wear my two Beads as a necklace and the other bracelets over woollen sleeves. I like the fact that they structure a garment without really being seen as jewellery. As for my daughter, she wears Le Milligramme.
How would you define LE GRAMME?
Like a stiletto heel. A very elementary heel, a stem with an industrial design. I have in mind the Irvin Penn photo of a foot wrapped in a hospital bandage - the simplicity and sensuality of the image.