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LE GRAMME sees objects through a lens of uncompromising aesthetics. Its resolutely functionalist approach brings each creation back to the essential nature of its materials in a bid to create universal emotion that is instinctively felt by all. This concept clearly echoes the ideas behind the celebrated Bauhaus school, founded a century ago. LE GRAMME is proud to share fundamental beliefs with this movement, which continues to inspire designers, architects and artists today.  

“The ultimate goal of all art is the building.” When he wrote the Bauhaus Manifesto in 1919, the school’s founder, architect Walter Gropius, can’t have imagined what a broad influence his “construction house” would have. Bauhaus went on to become a movement and to revolutionise architecture and design. In just 14 years of existence, Bauhaus gave rise to the modernist era, which went on to spawn a number of notable movements including the International Style.

Upon hearing the word Bauhaus, people often imagine a cold, sterile environment in a deprived post-war Weimar. In fact, the Bauhaus school was a place overflowing with experimentation. It recruited talents from all sorts of fields to teach its atypical curriculum: architects and designers (Marcel Breuer and Ludwig Hilberseimer for example), painters (Vassilly Kandinsky, Josef Albers, Johannes Itten, Paul Klee, etc.), photographers (László Moholy-Nagy), typographers (Herbert Bayer) and creative minds whose works spanned multiple categories (Oskar Schlemmer). 

With a passion for raw materials and an emphasis on interdisciplinarity, the Bauhaus school made art from metal, glass, wood and fabric, alongside photography and even dance. Its workshops were always led by a pair of instructors: an artist and a craftsman. Indeed, the school’s goal was to reconcile art, craftsmanship and industry. Similarly, LE GRAMME objects are the product of industrialised craftsmanship, combining machine precision with the discerning gaze and expertise of a craftsman.

The Bauhaus school believed art and craftsmanship needed to become more accessible by coming together to develop a shared aesthetic characterised by simplicity and pared-down elegance dictated by functionalism. LE GRAMME has adopted this approach free of superfluous embellishments and ornamentation. In line with its belief that objects can only become personal if stripped down to their most basic essence, LE GRAMME combines craftsmanship and technology to reveal raw materials in their simplest and purest form. It takes this philosophy even further by naming each creation only by its weight.

With its functional objects worn by and designed for men, LE GRAMME continues to defend the radical stance of the modern aesthetic and its strong lines as defined by Bauhaus. LE GRAMME shapes precious metals (18-carat gold and sterling silver) with respect for simplicity and geometry, rationalising each detail to create a new field of emotional expression for those who share its quest for the absolute.

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