The winners of the Grands Prix de la Création de la Ville de Paris 2023

After attending the Sorbonne, where she studied art history, and the Beaux-Arts de Lyon, Juliette spent six months in the Netherlands, where she worked in 2D textile printing and created geometric patterns. It was there that she heard about the Swedish School of Textiles. "I spent two years there. It's a great school, with research labs, machines and every branch of the textile industry represented. That's where I developed my idea for 3D weaving.
His graduation collection is a reflection on a weave
in layers, supple and self-supporting, insulating, which can be sculpted but regains its shape thanks to its shock-absorbing properties.

The applications are numerous, and the ability to customize colors and play with scales adds an aesthetic dimension.

Juliette Berthonneau

The confinement imposed six months after her graduation put the brakes on her projects. Collaboration with another designer, the creation of an educational kit and work with a folding craftsman, however, enabled her to hang on! Nothing is lost: her prototypes will not have been made in vain. In December 2022, she joined the Ateliers de Paris incubator.

Company visits, meetings with architects, fund-raising to gain access to industrial tools, the desire to help revitalize the local textile sector by combining tradition and innovation... things are moving and will be boosted
by this new Prize. For a long time, I felt like I was stuck at a red light, but now I can finally get started," she explains. I can't wait!"

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@juliette.berthonneau

A 2012 graduate of Ecal in Lausanne, Julie Richoz worked with designer Pierre Charpin from 2013 to 2015. Winner of the Grand Prix du Jury at the Villa Noailles Design Parade in 2012, which also enabled her to work with CIRVA (Centre international de recherche sur le verre et les arts plastiques), published by Galerie Kreo, she says she entered design practice with one-off pieces or small series.
"However, I put a lot of energy into developing industrial projects, which then become accessible to a larger number of people. It's a different, more complex approach, where everything can come undone for a detail. That's why, when I saw the letter of intent from Inga Sempé, the President of the Jury, I wanted to present my work to her. She explained that she wanted to highlight singular objects, but also industrial ones", says Julie, who set up her studio in 2012.

When she met the jury, she emphasized the dialogue between her practices. She shows her picture-hanging frame, designed for Alessi, and her small rug designed for Hay, which may have had its origins in a more exclusive collaboration for Manufacture Cogolin:
"It's not the same price positioning, but both are magnificent, each with a distinct spirit," she points out. She is also delighted with the launch of small tables designed for Italian publisher Mattiazzi.

They are a true silhouette, like bowls on legs, and are made of solid wood, crafted in Italy. This proves that just because you work in series doesn't mean you can't be bold in language and form.

Julie Richoz

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@julierichoz

"I wouldn't want people to think of me as an introverted ballerina in a tutu", says Alice Vaillant when asked about the first part of her young career - she's 28 - devoted to dance. Indeed, before she became a renowned designer whose pieces seduced Kylie Jenner, she spent a long time wearing ballet slippers. "I started dancing at the age of 7. I was spotted by the Paris Opera school at 11. However, at 18, I didn't pass the entrance exam to the corps de ballet. I just didn't have the fire anymore. Dancing is a very tough discipline, and when the passion is gone, it doesn't work.

Although she joined a major Canadian ballet company, she had new desires. "I've always been attracted to clothes and fabrics. And dance is also about costumes, fittings and alterations. Little by little, I realized that I no longer wanted to be a performer, but to become a choreographer of sorts." To achieve this, Alice took a step to the side. She took sewing classes, worked in a tailor's workshop and finally joined Atelier Chardon Savard, from which she graduated in 2019. She then launched her own label.

Years in a leotard leave their mark! I wanted to work on fluidity, while taking advantage of feminine codes such as draping, stretch lace and embroidery. Women tell me that when they wear my collections, they feel enhanced.

Alice Vaillant

This is no doubt why she was quickly spotted on social networks and, three years after her first collection, her studio already employs 6 people and has just moved into a beautiful space in the 11th arrondissement.

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@vaillantstudio

Clara Daguin is an enlightened designer! Born in France, Clara grew up in Silicon Valley. Her father, an electronics engineer, left motherboards lying around the house and assembled his own computer. Perhaps these are the origins of her interest in technology. In any case, there's a strong bond between father and daughter. "He wrote the code for the piece I exhibited at Première
Vision in 2018, a light installation-dress. That was an important step, as was my participation in the Hyères Festival in 2016, at the end of which I created my brand."

Clothes also became an integral part of Clara's life very early on. "I've always made my own clothes, but there was no artistic dimension to it at the time. Her courses in fashion design at the Mairie de Paris and her master's degree in design/clothing at the École Nationale Supérieure des Arts Décoratifs helped to change her vision. As for her six-month stay in India, where she was moved by skills such as embroidery, it forged her style.

I benefited from the fashion tech craze. But I probably owe my longevity to combining technology and craftsmanship.

Clara Daguin

His January 2023 fashion show, which featured 17 silhouettes, is testimony to this. "To survive, you also have to find a business model. Mine is based on multidisciplinarity. There are exceptional pieces that can be bought or rented. I do consulting and research for brands. I offer more accessible ready-to-wear. And I develop wall pieces for interior design. It's not always easy not to fit into boxes.
But it's necessary to overcome difficulties to create other paths than the existing ones. It's worth believing and being persistent.

claradaguin.com
@claradaguin

They're 35 years old and they're enthusiastic, energetic and "bursting with fire!".
They launched Domestique, their leather goods brand in 2016 and already employ 4 people.

We insist that our products are made in France, and even in Paris. Everything is made in our workshop at La Caserne. We pay close attention to every detail, especially the choice of skins, to ensure that everything meets our high quality standards.

Simon Delacour and Bastien Beny

The duo met 18 years ago on the benches of the Ecole de Condé, a Parisian school of applied arts. Although they went their separate ways, one to the Ecole Duperré, the other to the Chambre Syndicale de la Mode, and then began their careers in separate companies, they have remained "best friends".

In 2015, their shared ambition to hijack and decontextualize everyday objects, and their complementary nature, led them to create Domestique and launch a collection of "intimate design objects" inspired by sado-maso bondage. Their reputation was made! Well, almost... Because, with the presentation
of just one collection per year to avoid "getting your spleen in a stew and giving in to the temptation of doing everything on the assembly line", they are exploring territories other than that of sultry accessories and now offer a broader vision. They are positioning themselves as a creative manufacturer.
They are having fun shaking up the world of accessories, with an irreverent spirit and, again and again, their territorial roots, the conviction that ultra-local manufacturing must be defended against all odds.

domestiqueparis.com
@domestique

At the age of 11, her mother gave her an embroidery kit. That's how she started embroidering. She never stopped. Her passion was such that, at the age of 12, she took an internship with the Breton embroiderer Pascal Jaouen. "I found myself working with retired ladies, but it confirmed my desire to dedicate myself to this craft. With her Bac STI in applied arts in hand, she enrolled at the Ecole Duperré in 2008 to take a diploma in textile arts with an embroidery option.
Then she wanted to develop her own world. She took a higher diploma in applied arts and enrolled at IFM in management. Her dream finally came true.
In 2016, she joined Hermès, to develop fabrics. And... she was bored. She misses the material. So she perfects her artisanal proposal.

Right from the start, I wanted to free myself from tradition. I took the time to experiment, to find my own identity and uniqueness. I use thread as a pigment. I've created what I call the atoll technique, with coiled threads that create nuances. This allows me to design
different elements that will go into large-scale pieces. I work in a craftsman's spirit for interior designers, but I also have more personal and artistic proposals.

Solenne Jolivet

Settled in her own workshop since 2018, she is still taking her time with research. Winner of the Banque Populaire Foundation in 2021, "a boost to her career", she is currently working on wire marquetry in order to take part in hybrid approaches that will enable her to develop collaborations with other art craftsmen.

@solennejolivet_textiles

I'm linked to materials," says Morgane. The women in my family practiced what was known as ladies' crafts. My grandmother, with whom I spent my vacations as a child, used to knit and sew... She would start with simple threads and, with her hands and a few tools, make clothes and objects out of them. I've always thought of her as a magician. And I was lucky that she and my mother passed on these techniques to me. So it was only natural that Morgane should take a baccalaureate in applied arts. She then enrolled in a preparatory course at ENS Cachan, specializing in design, before joining ENSCI-Les Ateliers, where she focused on textile design.

It was there that I discovered weaving. I also did some engraving, which enabled me to approach a certain form of finesse. And it was during my diploma project in 2009 that I began to establish a style. I'm inspired by landscapes, or rather by the creative process of landscapes, which are sculpted by wind, water... There's an interdependence of elements, just as in weaving.

Morgane Baroghel-Crucq

This passionate weaver, who explains how hypnotic her activity is and how it brings her a tremendous sense of well-being, bought her own loom as soon as she finished her studies. She then embarked on a freelance career, while creating her own textile collections. Her career has been marked by many encounters and successes, including the Prix de la Jeune Création Métiers d'Art in 2015, a grant from the Fondation Banque Populaire, and an exhibition at the Révélations trade show... All the way to this Grand Prix, which goes hand in hand with a busy end to the year with exhibitions in Aix, including a solo show, and in Paris.

Settled in her own workshop since 2018, she is still taking her time with research. Winner of the Banque Populaire Foundation in 2021, "a boost to her career", she is currently working on wire marquetry in order to take part in hybrid approaches that will enable her to develop collaborations with other art craftsmen.

morganebaroghel-crucq.com
@morganebaroghelcrucq