While she is perceived by many as an artist, she prefers not to use this term. By default, she prefers structure and finds freedom through it. A paradox. The functionality and durability of objects are for her the most interesting aspects, but the greatest value stems from the relationships established through work.
How do you start your day?
Probably like most people – coffee, breakfast, and I’m on my way to the office. Nothing special. I really enjoy this routine. I try to plan all my meetings around work – during lunch or in the evenings. When I’m working I like to be completely concentrated, with no distractions.
So how do you manage to balance your professional and private life?
It’s a subtle balance. Even though I try, I am not always able to fully stop thinking about a project. Which isn’t that bad, sometimes it’s good to distance yourself a little bit, catch a breath and get some fresh ideas. It is easier to notice certain things when away from work. I definitely couldn’t have a studio in my house, a matter of certain professional hygiene. During the pandemic, it was the only solution and it had to suffice for a while, but I prefer to keep those two spheres of life separate. The home should always be only a home. I don’t think of the pandemic as an unproductive time, quite the contrary. Back then, I was working on a blanket design for PURO, and it made me happy that I was able to test such a cozy, warm object in its natural habitat.
How does your creative process begin? What is first: an idea or a need for a certain product?
I work for brands, I’m not a self-standing artist. I work within the constraints of the production or the brand’s own DNA. Paradoxically, I find those to be the source of great artistic freedom. I have to create something, that makes a design, which makes sense for the client, and the consumer and has to be a good design overall. As a designer, I take part in every stage of the process.
When beginning to work on a project, are you led by intuition or meticulous planning?
That depends on many factors, such as time or budget. There is no one way. When I was working on the design of blankets for PURO, in collaboration with Norwegian producer Roros Tweed, the crucial element was the drawings, so I immediately started to make sketches. In some other cases, where I begin with research, the process is longer and more complex. Sometimes, the result is a massive book, detailing the intentions of the project.
How did the idea of making Roros blankets for PURO come about?
My collaboration with PURO has been going on for some time but on a more occasional basis. Up to that point, I made individual objects for a couple of hotels, but I have been discussing with Rune (CEO of PURO Hotels) the idea of doing something on a large scale. The design of Roros blankets is inspired by the heritage of the brand. In October 2019, we visited the small town of Roros in Norway, toured the manufacture of yarn, and met the owners of the family brand. I was impressed by the numerous techniques used to make throws and other products using woolen yarn. It was exciting to see this process up close.
When designing, do you always dive into the history of the brand you work with?
Yeah, absolutely. Every brand is ultimately shaped by people, making things to be used by others. Establishing a good relationship with a client is crucial and helps with the creative process. Ultimately, it is a dialogue. Sometimes, I can come in with one idea, and then have a very different one after visiting the factory. Every brand also has its limitations, but I do not mean it in a negative way. Often those limitations are linked to the scale of production, and the accessibility of certain materials, but they can be inspiring, and stimulating.
Do you consider functionality as a crucial part of your work?
I think that functionality is fundamental. How an object will be used is the most interesting element. Ideally, a functional design should act as a prosthesis of sorts, a natural extension of your body. It should allow us to perform functions we are not able to accomplish without it. Regardless of whether it is a glass object, table, or chair – the object itself should enable us to do more.
You said that you do not see yourself as an artist. Are you against being labeled as one?
I do not like to call myself an artist because what I design has to be practical and perform a certain function. Art should come from within, from the artist himself, and not be something stemming from an outside need. I work within very constrained limitations, not necessarily projected by myself. Of course, we could start discussing whether art as such is even functional, but this is not my point. Naturally, I am still seeking various forms and trying to make them expressive. I like the term ‘applied arts’ as it best describes what I do.
Do you prefer to surround yourself with people or work alone in the studio?
I really like working with people, especially on multidisciplinary projects, where our different areas of expertise meet. I deeply regret that the Arena fair is no longer functioning, as it has been a wonderful experience for me. I have met so many experts through the fair, a truly invaluable experience. It’s easy to forget that it is people who are behind every project.
Whose works are you continuously impressed by?
Fortunately, there are many people like that and I keep on finding new ones. Some of them worked across various industries, from industrial design to searching for more radical forms like Ettore Sottsass, whom I admire. I could list the names for hours, as some I am captivated by based on their whole artistic oeuvre, and others I value more for particular projects. It keeps on changing and evolving.
What objects do you surround yourself with? Do you have your favorite ones?
Yes, I have a couple of favorite things, most of which I found online. Recently, on Allegro, I found insanely cheap two stools and two chairs designed by Enzo Marie for Zanotta. It happened by complete accident, I was googling something else and suddenly the auction popped up, so I immediately bought them, because I have always dreamed of and loved his projects. I also have a couple of things I designed myself, although I would not say that I particularly like surrounding myself with them (laughter). I keep on searching for mistakes, and things to improve on them. But in the end, it is a nice feeling, that an imaginary project can be transformed into a physical object, which is in my house and that I use daily.
What objects from your childhood do you remember?
The strongest memories I have are of cardboard boxes because we moved around a lot (laughter). As a child, I loved to rearrange my room and move things around. But it is difficult to think of a particular object that shaped my view of applied arts.
You were born in Switzerland, studied in France and Switzerland, worked in London and now you live in Poland. What place do you consider home?
All of those places are close to my heart, and everywhere the most important thing was the people. London had a huge impact on me, it has this incredible energy that I like. I love the mix between tradition and contemporaneity – London marries the two together very well. But I like living in Warsaw, it’s a growing metropolis. A lot is changing and going on all the time. It’s interesting to witness all of it.
How do you like to relax?
I like all sorts of cultural activities and regret that there are not enough of them in Warsaw. Other than that, nothing too spectacular. Spending time with friends, going on walks, and going on weekend trips to recharge. Even work trips are enjoyable, even though I am technically not resting in the process. But they give me more headspace and I come back with more energy.
Do you think that there are certain objects missing, not yet addressed by industrial design or applied arts?
Many of us ask ourselves this question. I would rather highlight the fact that we are more and more capable of making truly responsible objects, especially in terms of using intelligent materials. But as years go by, new needs arise and the idea of comfort begins to change. Two hundred years ago, the furniture looked very different, objects like that evolve and are in a continuous dialogue with social norms and needs. As designers, we study those bits of information and then transform them into the final product. I want to be a conscious designer, using durable materials, which won’t create additional waste in the production process. That’s another thing that has changed over the years. The awareness of consumers has also changed, even though it is a pity that we are slowly losing the ability to make things by hand. This trend is reflected in the education process, manual work is becoming devalued, which I deeply regret.
Do you think that industrialization will dominate manual work?
At certain stages, maybe, but there are still many things that machines cannot do. A machine will not upholster the chair to the same standard as an artisan would. Hand-sewn upholstery cannot be matched. When entering a new space, I notice that there are still so many objects made by hand, and that reassures me that mechanization will never fully dominate.
Are there any dream commissions you have? Designing a certain object, or collaborating with a brand?
Everything is still ahead of me! Most projects are inspired by people and that’s what makes them the most valuable. It is often precisely this human factor that can make a commission a dream one. Approachability, dialogue, mutual trust, and a shared goal – are the qualities I value. There are many things I would like to do, both when it comes to using particular materials and in terms of the broader cultural climate. I often work with museums and other cultural institutions and can see how much it influences my own development.
One of my dream commissions is making a bottle, an old school one, similar to those I remember from childhood, perhaps one for Orangina, a fizzy orange drink, which glass bottle had the texture of orange skin, or a Campari bottle reminiscent of the designs of futurist Fortunato Deper, which is produced to this day. I like long-term partnerships with brands, in which we can really understand each other and build a relationship. Knowing the context and the people, it is way easier to come up with ideas. Many well-established European designers follow this path and only work with a small number of companies. I think that is the best possible approach, the human connection is crucial.
Interview by Paulina Masłowska
Photography by Piotr Czyż
