Today, we have the pleasure of speaking with Marine Mimouni, a Paris-based independent journalist and curator, who is curating the 2026 CURATED section at COLLECTIBLE Brussels. With a strong focus on emerging design, she brings a fresh perspective to this year’s theme, Echoes of Use. In our conversation, she shares the inspirations behind her curatorial vision, what she hopes to see from designers, and her thoughts on the dialogue between heritage and innovation in contemporary design.

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COLLECTIBLE: Could you tell us about your background and what drew you to focus on emerging design and curating
Marine Mimouni: It all begins five years ago, when I join the editorial team of IDEAT magazine as a journalist. That’s where my passion for design reveals itself. Freshly graduated in Modern Literature, I first complete an internship there, which gradually turns into two particularly formative years of experience. My editor-in-chief at the time truly opens the doors to a world that is still unknown to me and, in a way, becomes my first teacher in design. Through my encounters, I discover numerous designers, some already well-known, others still emerging, who shape my perspective and fuel my desire to explore this field further. There is a sensitivity in their work that moves me deeply, one that I want to explore even more. Their work reflects genuine commitment. For the most part, we belong to the same generation, which makes their creations all the more meaningful to me. I become increasingly interested in emerging design through my own research, to the point where my curiosity becomes almost insatiable.

Today, everyone is interested in emergence in a broad sense, without always fully grasping its stakes. This is why I decided to launch my own design magazine, lateral, which was originally called In.Solite when it launched two years ago. At first, this digital platform’s sole purpose was to highlight emerging designers I was discovering, a form of curation, in a sense. All of them shared a unique approach: exploring alternative paths in their practice and breaking free from norms in the way they conceive their work. Over the months, I realized that their work sparked genuine interest, and people wanted to learn more about it. The research developed through my magazine will also feed into Collectible Brussels 2026, through the « Echoes of use » theme chosen for the Curated section.

C: How do you interpret the theme Echoes of Use, and what do you hope designers will bring to this open call?
MM: In my eyes, this theme reminds us that furniture is not limited to its mere function; it carries within it the memory of the gestures and uses that have shaped it. It is also rooted in a cultural heritage made of traditions and memories, a reminder that the past is always anchored in the present. Nothing is more beautiful than furniture that tells its story through its imperfections. This call for projects invites designers to present furniture and objects that go beyond mere functionality or beauty. I am looking for pieces born from genuine research, imbued with stories, capable of transporting visitors to another place and evoking their own memories.

C: What do you see as the main challenges and opportunities in exploring the relationship between heritage and innovation in contemporary furniture design?
MM: Exploring the connection between heritage and innovation in contemporary furniture necessarily involves taking risks, whether in the choice of materials, the reinterpretation of forms, or the emotions one wishes to convey through it. It is essential to clarify the true message behind each creation so that the user can fully grasp its meaning. A piece of furniture can come close to a work of art when it invites reflection and evokes memories. The aim is to create a genuine experience between the piece and its user. Every detail should be conceived as a key to understanding, while also revealing the essential.