The five-meter sofa, “Kom Bed,” which she designed for the first furniture collection of the gallerists Pradier-Jeauneau, made a strong impression with its size and precision. Yet, when it comes to discussing her relationship with the publishers who trust her – Nilufar, BSL, or Pouenat – what she remembers, more than her pieces, the materials, or the manufacturing process, is the relationship she has built with them. “The human side is essential to my work. Friendly closeness matters as much as professional understanding.”
She, who describes her own style as “warm,” and who has just designed furniture for the renovated rooms of the Majestic in Cannes, is also preparing to release an outdoor collection. “I make sure to balance hotel projects, residential commissions, and furniture publishing on a daily basis. For me, these are three complementary activities.”Projects she carries out, surrounded by a dozen collaborators, but which she wishes to embody despite an overloaded schedule and constant travel. More than growing her agency, she aspires to shift the lines of her work. “I am working on an innovative construction system that I have just patented; I love this phase of fundamental and empirical research.”If 2024 was a landmark year, 2025 should be no less significant.