When Lorraine and I met, we first collaborated on several different projects that worked out very well, and that naturally led us to develop a shared signature. We founded Studio Parisien in 2013, and since then we’ve been on this long journey together. It’s true that our aesthetics really brought us together. We share a common taste, but we also have differences that make us highly complementary. We talk a lot, but that’s precisely what makes it interesting, in the sense that it’s a constant process of questioning ourselves.
 
 

We are completely immersed in our own universe, in a way. Paris is buzzing—there are galleries, exhibitions, fashion, libraries, architecture of course, and gardens. It’s so inspiring and so international that it has become part of our DNA. We’ve lived in Paris since we were born, so everything there has enriched and shaped us. For us, it was important to include this Parisian signature in the name of our studio. And within our name, there is also the idea of the “studio,” which matters to us because it evokes the idea of a laboratory, of photography, and of working together as a team.

We have different sensitivities in how we perceive things. When working with a brand and understanding its history and DNA, we can be led in different directions. And that’s where we have to be demanding, listen to one another, and take the time to find the right line for that client. In fact, the real work is bespoke creation. We’re very aware of that, and we try to protect it. Because while our own taste is one thing, respecting the client and their universe is another. We design for others as well. It’s like a couturier who has to respect the house they are working for.

 For us, comfort and ergonomics are essential when we design furniture in particular. We don’t choose between aesthetics, form and volume, and comfort and ergonomics. That’s also why we work with the excellence of French master craftsmen: so that their expertise can support us and serve our aesthetic vision.

Maison Pierre Frey is a timeless house. We feel we’ve always known it, given the richness of its patterns, textures, and fabrics. It has always been part of French textile heritage. When we first started working in interior architecture, we explored all of their fabric and colour libraries. And over the course of our projects, our concepts, and our experience, we gradually built a very strong connection with this house. It has become a kind of friendly house—professional, of course, but one we’ve collaborated with extremely often. 
 
 
 

Pont Neuf refers to an extremely elegant, charming bridge that connects two banks, two identities within Paris. It is precisely this flowing line that undulates, reminiscent of the curves of the Seine passing beneath the Pont Neuf. We find this detail echoed in the lounge chair, the ottoman, and the sofa, with its wooden belt that can be offered in different finishes. It was really about this line—curve against curve, undulating—evoking the sinuous movement of water.

For us, it’s an essential stage—not only in the creative process, but also in the production process. Visiting the workshop and exchanging ideas with the artisans allows us to refine each piece until it feels right in terms of proportion, comfort, and aesthetics. We rely on their expertise and craftsmanship to bring our ideas to life. At the same time, through our imagination and creativity, we also encourage them to push the boundaries of their own know-how.

 I think the first emotion is simply that people notice the piece—that it catches their eye and makes them want to sit in it and make it their own. Naturally, with this collection, we hope that anyone who discovers it will feel an immediate connection to it and think, This piece belongs in my home, because it fits so naturally within their interior.