How did you meet with Natacha?
We met through a workshop at the Arts Décoratifs de Paris. We clicked right away. At the time, she was working as an embroiderer for Haute-Couture workshops. I was working in the fashion industry as well, in scenography and event designing.
What entailed you to become partners?
We realized we both wanted to decompartementalise our jobs. We got along well and we had a similar vision of what we longed for in our career. A few months after we met, we were both ready to undertake a more substantial project of our own, and so we opened the studio in 2014.
At first, you did not team up for your current studio P+L studio…
No, we did not. At first, we created Beau Voir, a brand of exceptional jewellery. We made accessories such as shoulder straps, bibs, belts…overall, they were tiny Haute-Couture treasures that clipped on and completed an outfit. Our brand still exists but we put it on the side at the moment to focus on our current studio.
How was P+L studio born?
Developing Beau Voir was quite complicated because it was such a micro niche. Meanwhile, our former respective clients kept calling us for projects of scenography and embroidery. We wanted to combine our skills and to bring embroidery and textile ennobling towards stage design and merchandising. It is with that desire in mind that we created P+L studio in 2016.
Can you give us a definition of textile ennobling?
We ennoble surfaces: whether it is with embroidery, or by reworking fabrics with glitters, paints, textured pastes…. Overall, it is everything one can add to a piece of fabric.
“What amuses us is the paradox that exists between the “giant” aspect of our pieces when actually we are making embroidery. The excessiveness of our projects is very pleasing, and interesting too.”
What is your specialty at P+L studio?
Our singularity is to do what we call “macro-embroidery”, which is actually giant embroidery. We constantly invent new processes for that technique because the medium is not souple but rigid. We have to think of a way to “giantify” the supplies we use.
Another feature of our studio is to embroider on any kind of material. We work with luxury brands of course, but also with interior designers. In that field, we sometimes have to work directly onto furniture and that requires a serious engineering!
What type of furniture have you worked on for instance?
Lately, we worked with a cabinetmaker to embroider on wood. First, we draw the embroidery, then we digitalize the drawings, we laser cut them, eventually we pierce them…It’s a whole complex process.
We also have a project with an architect: embroidering on marble! The interest is to show that the material is embroidered, not just simply glued to it.
How would you describe your visual identity?
It constantly changes and adapts to each project because we do not want to systematize our creative process. I’d say our artistic singularity mainly resides in the textures and the dimensions we use for our creations.
That is what I call textile sculpture: despite the ornemental aspect of the pieces – that is to say the way supplies are set up – we focus more on recreating a texture or a specific atmosphere, a special universe. We work the surface of the fabrics with patterns and micro-reliefs that will create pleats and fabric architectures.
What amuses us is the paradox that exists between the “giant” aspect of our pieces when actually we are making embroidery. The excessiveness of our projects is very pleasing, and interesting too.
Your samples are tiny works of art. Do you sometimes exhibit them?
No, not at the moment. We “exhibit” when we show them to our clients. We come out with a new collection every year so we can renew our line. We are totally free in the creation of these samples, which resembles more an artistic approach.
What are your plans for the future?
We have an interior decoration project coming up in Zurich. For the occasion, we will make big wall hangings.
And mostly, we have the project not to grow too much ! We want to have time to create meaningful and achieved projects for our clients. Mature pieces result from a deep reflection: it takes time and that time is essential and cannot be compressed.