Today, we are thrilled to chat with Emily Marant, the new director of COLLECTIBLE New York. In this interview she shares her dynamic career journey in the design, art and fashion industries, spanning from founding Studio Marant to her new role.

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COLLECTIBLE: Can you tell us about your career in design and art? How did you develop your expertise in bridging creative sectors?

Emily Marant : Fueling my passion for art multiples (limited edition artworks by artists), I founded Studio Marant ten years ago. I navigate the intersection of art and design through a diverse range of projects from curating to producing cultural events. 

Throughout the years, we've pushed boundaries, brought art and fashion together for example when we curated the artistic takeover of Sonia Rykiel's storefront for their 50th anniversary, co-curated an exhibition around multiples at Galerie des Galeries Lafayette, or when we founded one of the first art contemporary prizes for a mid-range fashion brand, The Kooples and had them collaborate with an public institution such as the MAC VAL. 

Beyond commissioned work, I cultivate my research for emerging talent through a yearly pop-up store featuring a curation of young designers and artists. This focus on the next generation has become a core area of expertise for Studio Marant.

Much like art multiples, collectible design objects combine a strong artistic vision with exceptional craftsmanship. I find that more and more designers learn markers skills in order to produce themselves and in small series, this approach to design has been growing in a sustainable way for the past years. Being part of a fair such as COLLECTIBLE is a perfect opportunity to support this practice.

C: As the new director of COLLECTIBLE New York, what are your previous experiences in the design and art industry that best prepare you for this role?

EM: In addition to my curatorial experience, Studio Marant possesses a strong foundation in the technical aspects of the art and design world.  We've spearheaded the production of diverse artistic events, from directing prizes to crafting engaging creative content like workshops. For instance, I recently launched a Design Residency program in ALULA for AFALULA (French Agency for Alula), with an  exhibition during the Milan Design Week 2024.  

A few years ago, I co-founded 'French Cliché,' a design editor gallery focused on functional art pieces. In 2022, we participated in COLLECTIBLE with a group show of Atelier Baptiste & Jaïna, Leo Orta, Antoine Carbonne, Arthur Ristor and Manon Daviet. It was an amazing opportunity for us to show our program, Liv and Clélie, have really set up a platform for designers, galleries, interior architects to showcase their works. Looking back, being part of the fair brought me great insights into the needs and expectations of both galleries and designers participating in the fair. 

This 360-degree experience equips me to understand the multifaceted nature of COLLECTIBLE New York, from managing the event itself to fostering a thriving ecosystem for galleries and designers.

C: A new section is making its debut in the New York edition, and it's the 'fashion' section. As someone who has worked with prestigious institutions and well-known brands, what lessons have you learned about creating fruitful collaborations between the worlds of design and fashion?

EM: Fashion and design share a beautiful synergy, feeding off each other through historical and aesthetic references. Brands have long collaborated with designers, this cross-pollination is crucial for both industries to stay fresh and relevant.

Designers are the pulse of our times in their ability to translate trends and societal shifts into tangible creations. Brands greatly benefit from supporting contemporary designers, especially to rethink retail spaces and consumer experiences.  From Shiro Kuramata creating the first Isse Myake stores to Bernard Dubois shaping Nicolas di Felice's vision for Courreges. 

By bringing these collaborations to COLLECTIBLE, not only do we highlight the creative diaologue between fashion and design, we also demonstrate the designer's ability to adapt their vision to different DNAs.

C: What is your vision for the role of collectible design in contemporary society?

EM: COLLECTIBLE isn't your typical design fair. It's a hub for design professionals from all horizons to connect, discover, and inspire each other. This collaborative spirit fosters a space that showcases contemporary design from established galleries to emerging talents. That particular practice of design who pushes boundaries and embraces contemporary challenges: sustainability, local production, craftsmanship in the most creative way. 

Collectible design transcends the line between art and function, celebrating creativity that breaks free from standardized aesthetics.  The American design scene, with its rich history (think the American Craft Movement) and forward-thinking educational programs, perfectly aligns with this ethos.  This emphasis on freedom of expression is what makes COLLECTIBLE a perfect fit for the New York design scene, and I'm thrilled to explore this synergy in our upcoming edition.

C: What message would you like to pass on to design lovers who are considering taking part in this first edition of COLLECTIBLE in New York?

EM: Join the COLLECTIBLE New York family! We're eager to collaborate with you and showcase your work to all the design enthusiasts in one of the most vibrant cities on earth. The whole team is committed to create the best conditions for you to showcase your artists and projects during what has now become the fall art week in the city.