Atelier George is a duo composed of Eve George and Laurent Fichot, designers and glassblowers.

After studying at the Ecole Boulle, then at the ENSCI in Paris, Eve specialised in glass. She joined the CERFAV – Centre Européen de Recherche et de Formation aux Arts Verrier – and became a Compagnon Verrier. For his part, Laurent, who comes from a family of ceramists, benefited from training from an early age.

Laurent, for his part, studied art throwing and cane blowing, and then became a professional in fine houses such as Cristalleries Saint-Louis or Lalique, and in artisanal workshops such as Biot. He joined the Centre International d’Art Verrier (Meisenthal) where he made custom-made pieces for designers and artists.

At Atelier George, they work together from design to production. Their work includes lighting, tableware and wall tiles, all made using molten glass techniques. Each object in the Atelier is unique: thanks to the mastery of glass blowing, the objects are never reproduced identically.

Clémence Plumelet graduated from Duperré school in textile design, leaves for the Netherlands in 2015 to join the prestigious Design Academy of Eindhoven where she meets Geoffrey Pascal.

Together they founded the MARCEL POULAIN Studio which combines their desires to preserve artisanal and industrial know-how as object and textile designers. Each project is initiated by the search for a scenario that echoes memories of the collective memory, on which is grafted a material, then a form, and finally the case to accommodate them.

The initial story guides them throughout this process to create a discussion between the place and the objects that animate it in a multisensory approach.

Dimitri Felouzis is an HMONP architect and designer. He focuses his practice on the small scale: from the manufacture of single pieces to the renovation of old buildings, through the creation of dwellings in harmony with their environment. Attached to local resources and vernacular know-how for their intelligence, his work explores the ecological dimension of the material to rethink everyday space as close as possible to those who live in it.

Through her Autels Particuliers, Pernelle Poyet questions the evocative power of objects. Her sculptures, creative experiments inspired by the religious and the play of light and shadow, seek to transcribe into volume elements of the drawing.

How can design and its production techniques translate the finesse and nuances of a design? To what extent can they bring a new perspective on an age-old know-how, on the culture of a country? This is the bridge that Julie Richoz has chosen to explore, alongside the publisher Trame: her Giro ceramics made in Fez are the fruit of an enchanting balance between modern vision and traditional craftsmanship.

Samy Rio is also committed to using design as a spokesperson for know-how. With his Dota walker, published by ARCHIK, he confronts bamboo and anodized aluminum, in other words tradition and modernity. The bamboo is handcrafted into a perfect tube, not only giving the piece a contemporary look, but also highlighting the quality and precision of the handwork and the potential of a natural and ecological material.

A deep concern for detail, durability and functionality is also found in the work of Sara de Campos, who since Lisbon has been developing a series of objects and furniture that show a sensitive approach to materials, minimalism that allows each time to reveal the intrinsic beauty of the material.

In another register, Carolien Niebling uses design to unite the fields of science and food. Her work “The Sausage of the Future” questions the techniques of sausage production, often equated with junk food, and imagines new future potentials for them, more consistent with a sustainable food culture.

The duo, composed of designers Alexis Foiny and Antoine Behaghel, conceives a new typology of furniture in the form of transitory objects. Starting from the premise that the domestic universe to which we have access in the large distributors seems sometimes stuck in prefabricated and standardized representations, they propose an alternative domestic universe. Also qualified as a laboratory, the design studio multiplies the experiments in an exhaustive way, in the form of an inventory.

Caroline Venet created Studiofoam in 2017, which she conceives as a research laboratory. Through this design studio, Caroline proposes a unique interpretation of materials, questions manufacturing techniques and processes, between innovation and traditional know-how. The designer explores the boundaries between art, craft and design. She develops a multiple approach, from experimentation to installation, from material and surface design to product design, set design, scenography and art direction.

“Since the beginning, our bias has been towards contemporary abstract art, which we feel is the strongest expression of the creative freedom of each artist who must create his or her own pictorial vocabulary.

Unlike figuration, abstraction also allows for an unlimited field of interpretation where the imagination of each artist is put to the test. Never seeing the same thing twice in a painting is the strength of abstraction.

We want to bring out a new generation of artists who deserve a prominent place in the art market.

Whether they are young or already present in prestigious collections, what all our artists have in common is their talent and the potential that our committee of experts recognises in them.

Our mission is to accompany them in their work, to increase their visibility, their notoriety and their rating.”