This series, COLLECTIBLE In-Depth, unveils the backstage of contemporary creation. Tackling various topics from personal designer processes to the position of collectible design on the global design market, COLLECTIBLE In-Depth offers different views to suit all tastes. Today we talk to Madeleine Froment from La Lune.

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COLLECTIBLE: Why do you focus on contemporary collection design?

Madeleine Froment: Craftsmanship, in its individual dimension, brings us back to a scale relationship that the industry has swept away. It allows us to be in contact with carefully selected materials, to physically experience the relationship with them, to have an emotional and virtuous connection with the material. In their approach, the artists we represent maintain a direct and conscientious connection with the reality of our living world. 

C: What dialogue are you bringing to COLLECTIBLE this year?

M: Beyond practices, there are stories that each individual maintains with the inhabited region, with a sensitivity that has been built over the years, with the continuity of gestures and knowledge, and finally with transmission. We like to highlight these connections, between eras and cultures, places and practices, humans and the different forms of life on this earth.

C: What is the relationship you have with the designers you work with?

M: We are very attentive to the relationships that the artists we represent have with the material. If that connection seems obvious, then our relationship is also organic. The dialogue happens naturally. 

C: Can you talk about the designers you are presenting at COLLECTIBLE this year, what makes their practice/unique pieces?

M: We are presenting several pieces by the sculptor-designer Jules Lobgeois, the power of these pieces is given by the volumes he enjoys revealing, prominent muscles, or futuristic curves, the lines of his objects give as much to the light as to the shadow. It is also in the invisible part that one must seek the essence of his work, dedicated to the material and its wild part.