Backstage of the making of the Oversized Chair for PARIS DECO OFF 2019

Savoir faire21/01/2019

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For the 10th edition of PARIS DECO OFF, several oversized furniture have been realized and upholstered with outdoor fabrics.

THE OVERSIZED CHAIR has been realized by the furniture ateliers of La Maison Pierre Frey. It is the enlargement of a design from the new 2019 collections.

It represents between 80 to 100 hours of production for 2 to 4 craftsmen + 8 to 10 hours for 2 craftsmen to make the technical drawings !

 

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Trend 2018 : The Ultra-Violet and its History / The Archives’s Gazette

Savoir faire19/12/2018

The year 2018 sacred of Ultra Violet is coming to an end. Before celebrating the Living Coral color announced by Pantone as the new 2019 major trend, let’s have a look back on this enigmatic and mesmerizing hue throughout history. Deep and changing colour, resulting from different mixtures over time, nuance both adulated and hated, the ultra-violet retains a strong identity full of eloquence and mystery …

Read The Archives’s Gazette 
The Ultra-Violet :

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Nouveau Présentation Microsoft PowerPoint 97-2003 [Mode de comp
Nouveau Présentation Microsoft PowerPoint 97-2003 [Mode de comp

O.Joannen, Pierre Frey’s master weaver honored Knight of the Arts and Letters

Savoir faire19/11/2018

Pierre Frey’s Master weaver Olivier Joannen honored Knight of the Arts and Letters

Artisans Comité Colbert 2018  © Julio Piatti

Thanks to the Comité Colbert, whose aim is to valorise excellent craftsmanship to give young people a will for heritage, Olivier Joannen has been honored Knight of the Arts and Letters.

To maintain inherited know-hows from the XIXth century is an evidence for the Maison Pierre Frey as its wish is to preserve the French excellence heritage.  Thus, it is with great pride that it sees the exceptional work of his talented weaver honored.

Olivier Joannen started at 17 years old to learn the work of handweaver, a particularly rare craft today that he is now the only one to master at the Maison Pierre Frey. Teached by a “Meilleur Ouvrier de France” and a Master of Art, he became years after years a skilled expert in this field. He first learned  how to knot different kind of yarns before mastering the use of the looms, from the simpliest which is the dobby loom that makes plain fabrics, to the most complicated which is the Jacquard loom, allowing the realization of specific patterns such as the iron velvet, the damask, lampas and the brocatelle.

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It is on one of those Jacquard looms from 1850 that Olivier Joannen works, settled in the heart of Pierre Frey weaving atelier certificated Living Heritage Company/ Entreprise du Patrimoine Vivant, in Montigny en Cambrésis, in France.

The work of Olivier Joannen is extremely complexe. It is not only a technical prowess but also a human adventure as the weaver involves himself physically and morally in the making of his fabrics. Like a still walker, he constantly presses on the treadles in order to raise the warp yarns and then, with his arm, places the irons and throw the shuttle with the weft yarn inside. The sumptuous fabric was slowly born from these repetitive gestures which need both strength and delicacy, requirement and patience.

Above the fabric, we see the intimate relationship that links the craftsman to his work and which makes this one unique.

Rouleau velours Tigre tissage à bras © Marina Créaleg2

Some EXTRAORDINARY statistics!
• For 1 meter of cutted velvet producted in one day, the weaver
gives 4200 treadles kicks, introduces 600 irons by hand and
1200 weft passages with the shuttle ; He gives 1800 movements with the reed, he cuts 600 times the rabot yarns and extracts the 600 irons after cut.
9742 warp yarns are disposed on the loom in 65 cm wide, meaning 150 warp yarns per centimeter.
1 week is the time needed to set up the loom for the weaver for a new weaving project with new colours.
• Olivier Joannen weaves around 200 meters of silk velvet per year  with one meter a day, whereas a weaver working with industrial electronic techniques can produce until 500 meters a day by driving 10 machines simultaneously.

Tissage velours Tigre  © Dorothée Demeyleg

The Presentation of the Medals of the Order of the Knights of Arts and Letters was organized with the Comité Colbert and the Minister of Culture on November 8, 2018

Comit+®_Colbert-®_Julio_Piatti_ Remise_Arts_et_Lettres_8_novembre_2018-11Olivier Joannen and Franck Riester, French Minister of Culture – ©Julio Piatti

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All Nominees to the Knights of Arts and Letters and Franck Riester, Minister of Culture - ©Julio Piatti

 

Le Conti Restaurant

Savoir faire20/10/2018

A unique carpet adapted from the famous Braquenié embroidery “Le Rocher” for Le Conti Restaurant in Paris

Located between Etoile and Trocadéro, Le Conti restaurant was already a must adress for the amateurs of Italian gastronomy and  admirers of the wooden luxurious ancient Venetian theaters. The place has made a new skin this year by addressing young French-Lebanon interior architect Bilal Deshayes.

Le Conti_Bilal Deshayes_Paris FR_03_TA-B-Le Rocher_©Pierre Frey

 

 After starting his career with Laura Gonzalez, famous figure of the current Parisian decoration world, Bilal opens his studio in 2016 and successfully achieves several interiors of Parisian restaurants, all accomplished with the same care on crafts details and a taste for classicism, respectful of History, elegant and timeless.

The Le Conti restaurant is the same. Bilal Deshayes has respect the original identity of the warm and intimate place which, according to him, “already owned a true soul“.

 

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Faithful to this spirit and to the desire of refreshing the place without distorting it, the decorator sought to highlight the classicism of the restaurant by assembling more neutral contemporary elements to traditional ones. The woods are lacquered in black, walls are painted with an emperor red and, true signature, the decorator calls on La Maison Pierre Frey for the design of a made-to-measure carpet covering the entire floor of the place.

 

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Thanks to the advices of La Maison Pierre Frey’s experts, the iconic Braquenié embroidery “Le Rocher” has been chosen for being transposed in the carpet’s pattern. The result is splendid and testifies the talent of Pierre Frey’s carpet design Studio to transpose drawings and techniques in convincing pieces.

 

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The new Natecru collection, a focus on wide-width fabrics

Savoir faire18/09/2018

Natecru, a wide range of wide-width and very refined fabrics 

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With the new NATECRU collection, Pierre Frey proposes an exercise in style by voluntarily restricting color palettes. After Natecru linen, Natecru wool and Natecru silk, this new collection focuses on wide width fabrics (approximately three meters wide).

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Natural materials like linen or cotton are highlighted, and Trevira CS fabrics with an amazingly natural look complete the collection. A variety of weaves and embroideries makes for a broad selection of looks ranging from raw and rustic to sophisticated, contemporary and timeless. Whether evanescent, dense or structured, these fabrics mark a break with preconceived notions.

 

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This collection, which includes intricate sheers, plains, delicate piqués and jacquards with striped, geometric or more traditional patterns, is a new take on wide-width fabrics and offers a broad range of materials and textures.

 

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F3332001_CESARIONCesarion
F3304001_SALAMA_rideauSalamas
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Yeti & Malou, exceptional wool

Savoir faire18/09/2018

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Malou and Yeti,
two new woven wools and a wide range of colors

Woven in the Pierre Frey mills in northern France, YETI and MALOU form a magnificent duo that highlight the expertise of the craftsmen and the workshop in the weaving of wool yarns.  Noble and natural materials, wools are categorically defined according to the coats of the animals from which they come, their selection and the climate where the herds graze. Yarns are very technical to weave and require material adaptations and precise know-how. Depending on whether they are carded or combed, the yarn flakes are more or less prominent, the appearance of the yarn more or less smooth and dry or, on the contrary, woolly and furry. YETI and MALOU complement each other and present 2 exceptional weavings of randomly embossed, mottled yarns, with long and sensual fibers.

Yeti, created in a 70′s spirit, is a plain wool, mohair and long-haired alpaca, ideal for upholstery. 

Malou offers a contemporary texture with retro colors and blends alpaca, wool and mohair.

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PF_2018_MALOU_450_PF450MESTlegMalou châtaigne
PF_2018_MALOU_MATTHIEU_TB003legMalou abeille
PF_2018_YETI_477 PF477POST VlegYeti sous-bois

Images : Anne-Emmanuelle Thion, Philippe Garcia

“Le Grand Génois” in the spotlight in Vogue magazine

Savoir faire07/06/2018

“This Textile Has Been All Over Vogue—Here’s Where It Came From”. This is how Lilah Ramzi starts her article in Vogue Magazine, highlighting the famous Braquenié textile by describing every detail of its motif and showing the best places it is set off.

00-story-image-tree-of-life-textileCaroline Sieber’s library-like dining room features a window treatment with Braquenié’s Tree of Life. Photographed by Oberto GiliVogue, December 2015
 

Taking the words of Lilah Ramzi, let’s go back on an emblematic Braquenié fabric.

A historical motif

The Tree of Life has enjoyed popularity for centuries all over the world. This textile motif of twisting branches sporting multiple species of fruits and vegetables refers to several meanings. Biblically, as Lilah Ramzi writes, the tree recalls a version described in the Book of Revelations, which ripens with a different fruit each month of the year – another interpretation is the tree from which the forbidden fruit was plucked. The journalist also teaches us that in Chinese mythology, the motif is often depicted with a phoenix and a dragon ; potent symbols of reincarnation and immortality. It is underneath a tree that the Buddha attained Enlightenment. In any time and any places, this tree of life is a dazzling sight in all its incarnations.

01-tree-of-life-textileA slipper chair and pillows in Carolina Irving’s living room feature the famous print. Photographed by François HalardVogue, October 2006
 
 
 

French 18th-century taste for “eastern” exotism

In the 18th century, France was the “Mecca” of the textile industry, explains Lilah Ramzi. Each region had its excellence in a specific exceptional know-how. Lyon was perfecting the silk farming techniques while Paris’s famous Gobelins Tapestry factory was producing magnificent commissions from the French court. The town of Jouy was renowned for its successful block printed cottons with genre scenes, known as “toiles de jouy”. At that time, a craze for exoticism in the decorative arts reached a fever pitch. Textiles were littered with pagodas and conical hats catering to growing tastes for Japonism. Even in fashion, chintzes lush with pomegranates and lotus flowers à la Indiennes were everywhere on the skirts and dresses of that time. Indeed, the “east” was mined for inspiration and the French went wild recreating foreign motifs locally. This is in that context that, as Lilah Ramzi introduces, Alexandre and Charles-Henri Braquenié of the famous textile company Braquenié led the pack, one of their most iconic patterns features the symbolically charged beloved tree of life.

 
02-tree-of-life-textileThe walls of a guest room in Gela Nash-Taylor’s sprawling 15th-century estate in Wiltshire, England are decorated with the print. Photographed by François HalardVogue, September 2009
 
 

The famous Braquenié “Le Grand Génois”

Le Grand Génois is set on a pale background, where a tree climbs upwards, its wispy branches decorated with sprays of jade-colored leaves and silhouettes of lotus flowers, petals fanning out like the feathers of a peacock. Very famous and synonymous with the identity of Braquenié House, this motif was actually a copy – sometime in the late 18th century, the Braquenié brothers saw it printed on an Indian palampore and reproduced it for the local market ! Nonetheless, they slightly modified the pattern construction to accomodate French design sensibilites. The tree motif is unchanged from the original inspiration textile, printed by wood block, painted and dyed, but as Braquenié textile archivist Sophie Rouart explains, “they isolated elements to create borders and field designs that could also be applied to walls, so one pattern can envelope a room”.

 
03-tree-of-life-textileDaniel Romualdez pays homage to Le Jonchet in the master bedroom of his Connecticut home. Photographed by Oberto GiliVogue, October 2012
 
 

The Tree of life among places

For years, Vogue Magazine has been featuring places where the pattern appears. In the homes of Caroline Sieber, Daniel Romualdez, Carolina Irving, Gela Nash-Taylor, the tree of life fits into the interiors. According to Lilah Ramzi’s article, the textile’s most divine application in recent history and decoration is undoubtedly found at the late Mr. Hubert de Givenchy’s moated 17th-century estate, Le Jonchet, located just outside Paris in Beauvais. Givenchy filled his castle with furnishings by Diego Giacometti (brother of Alberto) and paintings by Joan Miro, and kept the garden grounds as manicured as the society swans he dressed throughout his fashionable life. Most famous (and most photographed) is a room that appears a visual ode to the tree of life. Every upholsterable inch – walls, chair backs, a bed and its canopy – was swathed in Le Grand Génois  for the most marvelous print-on-print decor scheme that inspires the use of the double-handed praise emoji. A stunning place, as you can see below.

 
04-tree-of-life-textile-Hubert de Givenchy’s brilliant allover use of the textile at Le Jonchet, once the country estate of the designer. Photographed by Karen RadkaiVogue, October 1982
 
 

A timeless and eternal motif

Years after years since the first Vogue’s publication in 1982 (about Le Jonchet), images of Le Grand Génois were published from other interiors featuring the Braquenié classic. Of the textile’s ability to transcend time and our wavering tastes for bold patterns, Sophie Rouart says, “First of all, it is spectacular. It is like a painting because you have a frame with the border that remains white”. Perhaps the tree itself, long held as a symbol of eternity, has something to do with Le Grand Génois‘s endless appeal. And Lilah Ramzi to conclude : “little dit the Braquenié brothers know how long this tree would live…”

Since la Maison Pierre Frey acquires Braquenié in 1991, a point of honor is made to preserve the richness of Braquenié printed archives, continuously produced, updated, and to perpetuate the traditional and ancestral techniques of a unique know-how from the 18th century with unequaled quality.

B756A001 V2Le Grand Génois
Many thanks to Lilah Ramzi. All images are from ©Vogue Magazine. To read her full article: https://www.vogue.com/article/braquenie-tree-of-life-history

A book and an exhibition pay tribute to the grandfather of Patrick Frey

Savoir faire24/05/2018

René Prou, Between Art Déco and Modernism

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For the first time, a book and an exhibition pay tribute to the work of René Prou (1887-1947), avant-garde decorator and central figure of the Art Deco movement.

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La Maison Pierre Frey exhibits René Prou, a passion for decorative arts in heritage

       Patrick Frey, CEO and artistic director of Pierre Frey, is the grandson of René Prou. Always admiring of his grandfather’s work, at home he lives among some of his creations and safeguards his collection of precious documents, gouaches and old photos.

On the occasion of the launch of the book René Prou. Between Art Deco and modernism, Patrick Frey pays tribute to this great interior designer with an exhibition in the flagship showroom of Pierre Frey in Paris.
A large box featuring the different facets of his creativity will be installed in the middle of the showroom. Inspired by the furnished and heated cabin designed by René Prou in 1942 for the Comtesse Greffulhe’s salon, it also evokes his work on the interior design of cruise ships, which consists in creating a box in the box and highlighting the closed space of the sleeping cars
Sixty-five objects from the personal collection of the family or loaned by galleries, museums or private collectors * will be on display. It will present the work of René Prou, voyage ambassador, through his creations for the Compagnie international des Wagons-lits and for the Compagnie générale transatlantique, his work on wood and metal, his style defined by the shape and the curve of metal bases… A certain vision of a simple luxury that made René Prou, alongside Ruhlmann, Leleu, Dunand, Subes or Brandt, a central figure in the Art Deco movement.

*Maison Fontaine, Galerie Jacques Lacoste, Maison Louis Vuitton, musée des Années 30 de Boulogne-Billancourt, Orient-Express, Alessandro Bellenda, Alain Blondel, Jean-Marc Daillance, Jean-Pierre Paschal, Christine Constantin, Patrick Frey.
 
 
 
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The unknown work of the decorator-designer told in a book

      René Prou holds an important place in the history of interwar decoration, particularly as a travel artist and decorator. He participated in the decoration of fifteen cruise ships of the Compagnie Générale Transatlantique, the new French luxury ambassador, and then with a luxurious aesthetic, of the cabins of the Orient-Express for the Compagnie internationale des wagons-Lits.
René Prou favors the simplicity of lines, the harmony of colors and the proportion of volumes. The furniture he designs is comfortable, bold, friendly and elegant. He uses beautiful materials such as exotic woods, ivory and lacquer, which he decorates with stylized vegetal motifs. He is constantly searching for innovations that the industry has to offer, such as: aluminum and Duralumin, which he uses for their lightness and durability, or plastic coatings that tastefully decorate the floors of ocean liners with geometric and colorful shapes. He intervenes with passion on everything, meticulous with the smallest details.
Between 1928 and 1932 he directed Pomone, the art workshop of the Bon Marché in Paris, which offered contemporary and affordable decorative pieces made in a small series to a broader clientele. In his shop, opened in 1938 on the Faubourg Saint Honoré in Paris, he presented decorative objects, his furniture signed with curved and fine feet that became his trademark, as well as the fabrics of his eldest daughter, Geneviève.
Very pedagogue, he became the ambassador of decoration through his teaching of youth at the School of Applied Arts in Paris or through his innovative training of women in the decorative arts: Charlotte Perriand will be one of his students.
With his classical training, his vision of decoration and the logic of industrial design, he imposed his style, at the crossroads of Art Deco and modernist trends. He had this sublime sentence synthesizing his state of mind about the quarrel between the Society of Decorative Artists and the Union of Modern Artists: «In art, only plagiarism is blameworthy and generally ugly.» Filigree, appears the figure of a free man with a great open-mind, who has trusted his creative genius.

The authors

Anne Bony (text) is an art historian specializing in the decorative arts. She is the author of many books including an important collection devoted to decorative arts by decade, Design, a history from 1851 to the present day and Ingrid Donat.


Gavriella Abekassis (biography) has devoted her masters I and II in Art History, at the University Paris-Sorbonne, to the work and career of René Prou. Her main research interests are the interwar decorative arts and contemporary art.

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Informations

the book 
René Prou. Between Art deco and modernism
Norma Editions – 25 x 30,5 cm – 256 pages
Publication April 19th 2018 – Selling price : 65 €
the exhibition
from May  24 mai to June 16  2018
Showroom Pierre Frey
27, rue du Mail 75002 Paris – mon to fri 9h30-18h / sat 11-18h

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La Maison Pierre Frey contributes to the exhibition “Modern Couples” at Pompidou-Metz

Savoir faire27/04/2018

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MODERN COUPLES
28/04 – 20/08/2018 – CENTRE POMPIDOU-METZ

The Centre Pompidou-Metz launches Modern Couples, an exhibition dedicated to the historical creative duos from the beginning of the XXth century.

Through a broad mix of visual arts, architecture, design, cinema, and literature, the masterpieces from Robert and Sonia Delaunay, Charles and Ray Eames or Nelly von Moorsel and Théo van Doesburg gives an essential highlight to the evolution of societies and thoughts while unveiling unknown figures and collaborations. The exhibition explores the creative processes and artistic approaches which interact and evolve within the intimacy of a twosome to give us a broader understanding of Art History and the soul and fringes of its essential movements. The very idea of modernity, as impacted by social, artistic and technical evolutions, is reviewed here through the prism of the couple.

For that occasion, la Maison Pierre Frey has opened its rich collection of archives. We lend several pieces that belonged to Djo-Bourgeois couple to the Centre Pompidou-Metz, taken from Maison Lauer heritage that la Maison Pierre Frey acquiered in 1995.

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Georges, best known as Djo Bourgeois, is an interior decorator from the 20s/30s. He becomes famous with his interiors designs of shops, apartments and villas, such as some of the rooms of the well-known Villa Noailles in Hyères, France. Elise, his wife, is a designer of textiles, wallpapers and rugs. As one of the closest contributor to Djo’s work, her geometrical patterns are without contest a characteristic touch and identify their style. Together, this french couple distinguish themselves through their visionnary and truly modern approach.

The lended pieces of la Maison Pierre Frey gives a true eloquence to their work : an old lookbook of rugs photos shows their graphic compositions in spaces; the textile samples , representing 5 of Elise Djo-Bourgeois’s drawings in several colors, bring the photographies we have from their spaces alive with strength and brilliance. Finally, la Maison Pierre Frey has edited again one of the archives, especially for the exhibition. Intitled  «djo», the fabric will be used as a separative curtain for the scenography.

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(the re-edited archive for the curtain of the exhibition)

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© images credits : Médiathèque de l’architecture et du patrimoine du Ministère de la Culture diffusion RMN, Fonds Forney, Centre Pompidou-Metz, Dorothée Demey

Modern Couples, from April 28 to August 20 2018

curated by Emma Lavigne, Jane Alison, Elia Biezunski, Cloé Pitiot. In collaboration with Barbican Centre, Londres. 

Centre Pompidou-Metz, 1 Parvis des Droits de l’Homme, 57020 Metz – Galeries 2 & 3

Open from wednesday to thursday 10am – 6pm and from friday til monday 10am – 7pm. Closed on tuesday.

MAISON ALMA X PIERRE FREY AT BERGDOF&GOODMAN NYC

Savoir faire26/03/2018

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From March 29th, the young French-Colombian brand  MAISON ALMA  will present in preview the new Spring/Summer 2018 collection at the New York Bergdorf & Goodman store, for the first brick and mortar launch of Maison Alma in the US. This collection of 3 bags and 8 coats is the result of an exclusive collaboration with la Maison Pierre Frey

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When the Latin American heritage of Maison Alma meets Pierre Frey’s French know-how, it gives rise to a collection of coats and bags in flying colours !

The new SS18 collection LA BOTANICA is an outerwear and bucket bag collection inspired by the diversity in colours and materials inherited by the rich aesthetic and teeming nature of the Southern countries.  Through a curated selection amongst the prints and embroideries of the editor, Maison Alma chose the most representative tropical and floral motifs of the spirit and legacy of the Latin American culture. LA BOTANICA  collection offers statements pieces for our wardrobes. By the intensity and vibrancy of its colours and patterns, it is a true invitation in a journey at the core of South America heritage and  Joie de vivre.

 Launched in 2017, MAISON ALMA draws on the decoration of Latin American traditional houses to create its collections comprised of unique pieces, handmade in Colombia with Pierre Frey fabrics.  Maison Alma blends Latin American aesthetics with French century old savoir-faire in upholstery fabric, developing a fabulous series of coats that portray the powerful connection between these two continents. By using interior design fabrics and working under very specific hand-made processes, Maison Alma only creates 10 coats by collection. This meticulous attention to each garment embodies the care Maison Alma gives to the creations. Those “garments with soul” are meant to last a lifetime. Each object of Maison Alma represents its soul: colorfully chic, joyful and unexpected.

“In the purest French tradition, La Maison Pierre Frey combines an inventive and deeply eclectic studio to master designers, weavers, printers and embroiderers. They are renown for their masterful and bold combinations of materials, motifs and colours”

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Eight printed or embroidered fabrics, including three novelties: Bonsaï, Garden Party and Papiers Découpés, have been selected to create the eight coats and three bags of the Maison Alma x Pierre Frey collection.

Bergdorf & Goodman  - 754 5th Ave - New York, NY 10019 – USA

The coats and bags will be soon available on www.maison-alma.com.

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Photo 20-12-2018 17 37 45

Backstage of the making of the Oversized Chair for PARIS DECO OFF 2019


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PARIS DECO OFF 2019 : SAVE THE DATES !


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Gros Plan Tapie Fever V

2019 FOCUS ON RUGS & CARPETS !


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