Materials, a common style across all collections
Matter is my guiding principle.
It is what connects my objects together — pieces designed to slow down, inhabit a space, and accompany everyday life.
It all starts with that.
It runs through my collections, transforms, adapts, but always maintains the same demand for meaning, texture and accuracy. It guides me, imposes its rhythm on me, teaches me patience.
Whether it's lamps, mirrors, cushions, or candles, the materials interact with each other. I make them circulate, respond to each other, transform, in order to create a visual and sensory coherence, without ever fixing the creation in a single form.
Natural materials as a common foundation
I work from a deliberately limited selection of natural and raw materials.
This choice is essential for me.
It allows me to explore each material in depth, to understand its reactions, constraints, and possibilities, rather than simply multiplying effects. I like to get to know the material, to tame it, to let it show me what it can become.
Linen, jute, plant fibers, natural ropes, leather, rattan, metal elements, beads, cowrie shells…
I choose these materials for their sincerity, their resistance, their ability to reveal the gesture.
Ropes, chains, lacing and braiding
A shared language
Ropes, chains, and lacing systems occupy a central place in my work.
I use them to structure the form, modulate the tension, and make the assembly visible.
To bind, to stretch, to adjust:
This precise gesture connects me directly to the material. It inscribes the hand in the object, without artifice, without concealment.
Openwork fabrics, linen and textile fibers
Filter and soften
Natural textiles bring breathability and softness to my creations.
Linen, jute and openwork fabrics are chosen for their ability to let air and light through, while asserting a true tactile presence.
They diffuse a soft light, add depth, soften the volumes, without ever erasing them. I love this subtlety, this way of suggesting rather than imposing.
Natural soy wax
A living substance
Natural soy wax plays an essential role in my perfumed creations.
I choose it for its purity, its creamy texture, its softness and its ability to restore light and fragrance without excess.
Derived from renewable resources, its combustion is slow and clean.
It emits a stable and soothing glow, a light that accompanies, never dominates.
Rigid structures and supporting materials
To give shape and balance
Rattan, tubes, wire mesh or metal frames form the framework of some pieces.
They define the lines, ensure stability, and allow the flexible material to fully express itself.
I like playing with these contrasts:
rigid and organic, solid and openwork, shadow and light.
It is in this balance that forms find their balance.
Cowrie Shells
A deliberate presence
Cowrie shells appear as punctuation marks in my creations.
I use them intentionally, because their strength lies not in discretion, but in the accuracy of the gesture.
In certain pieces, such as mirrors or cushions, they occupy a prominent place.
They structure the surface, give rhythm to the material, and inscribe a movement.
They are not added for decoration, but to interact with the form.
Their presence is deliberate, intentional, never gratuitous.
Whether they are discrete or fully visible, cowrie shells retain their symbolic significance.
They carry the memory of the sea and of travel, evoke transmission and recall a tradition made of protection, of value given to the object and of link between generations.
Their organic form, linked to the feminine and the cycles of life, inscribes in the object a presence that is both ancestral and profoundly contemporary.
Ashanti weights (aka Baoulé weights)
Anchoring matter in the direction
Ashanti weights are integrated as meaningful elements. They evoke measurement, value, transmission, and the right gesture.
Their presence introduces a silent depth, a dialogue between heritage and contemporary perspective. They do not tell a story on their own, but they anchor it.
To learn more, read the article " Ashanti Weights, the Akan Heritage "
Consistency, not uniformity
The materials I use are never fixed to a single use.
I let them adapt to shapes, volumes, and functions, while retaining their own identity.
This freedom of interpretation allows me to create open, sensitive pieces, capable of standing the test of time without becoming exhausted.
Material as signature
The material does not serve an effect.
It is building an identity.
It is the foundation of my handcrafted, coherent, demanding and sensitive writing, which is refined with time, experimentation and gesture, in a continuous search for quality.
