Access the press kit - Sophie Mallebranche

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PRESS KIT
Material Design Group SAS
SUMMARY
P4
INTRODUCTION
P8
P10
P12
P18
OFFER
BESPOKE CREATIONS
INSPIRATION
THE ESSENTIALS
P22
P26
P30
P32
THE NATURALS
PARTNERSHIPS
2
THE ULTRA-CHROMATICS
BIOGRAPHY
P34
ADDRESSES
3
SUMMARY
P4
INTRODUCTION
P8
P10
P12
P18
OFFER
BESPOKE CREATIONS
INSPIRATION
THE ESSENTIALS
P22
P26
P30
P32
THE NATURALS
PARTNERSHIPS
2
BIOGRAPHY
P34
ADDRESSES
3
INTRODUCTION
Sophie Mallebranche
A DESIGN
ALCHEMIST
SOPHIE MALLEBRANCHE TRANSMUTES METAL INTO TEXTILE. A
WEAVING PROCESS THAT TURNS ALLOYS AND MINERALS INTO
SOURCES OF LIGHT, SOMETIMES SUPERSATURATED IN COLORS.
THEY ARE ABOUT TO COMPLETELY TRANSFORM OUR EVERYDAY
LIVES, ON A LARGE SCALE, INDOORS AND OUTDOORS.
Since 1998, in her workshop, Sophie
Mallebranche’s creations are akin to
primary arts: architecture, sculpture
and painting. Her stainless steel, tin,
brass and bronze weaves, combined
with silicone, silk or linen threads,
play with the materials and their in-
4
trinsic proprieties so as to reshape
space, sculpt light and release the
fantastic possibilities of color.
5
INTRODUCTION
Sophie Mallebranche
A DESIGN
ALCHEMIST
SOPHIE MALLEBRANCHE TRANSMUTES METAL INTO TEXTILE. A
WEAVING PROCESS THAT TURNS ALLOYS AND MINERALS INTO
SOURCES OF LIGHT, SOMETIMES SUPERSATURATED IN COLORS.
THEY ARE ABOUT TO COMPLETELY TRANSFORM OUR EVERYDAY
LIVES, ON A LARGE SCALE, INDOORS AND OUTDOORS.
Since 1998, in her workshop, Sophie
Mallebranche’s creations are akin to
primary arts: architecture, sculpture
and painting. Her stainless steel, tin,
brass and bronze weaves, combined
with silicone, silk or linen threads,
play with the materials and their in-
4
trinsic proprieties so as to reshape
space, sculpt light and release the
fantastic possibilities of color.
5
OFFER
FRENCH MADE PRODUCTS, USING EXLUSIVELY
METAL MATERIALS
Sophie Mallebranche offers a range of about fifty models of 100 %, naturally
non inflammable metal (M1/BS1d0).
Her collection is divided into three color ranges: the essentials (a dozen references) which include grey, pearl white, champagne, warm gold, black; the
naturals (twenty references), which enrich the essentials with satiny grey
colors of silver, shades of copper, coffee, brown and dark brown; and finally,
the ultra-chromatics (twenty-two references).
As Chanel, each product is identified by a specific number. Even numbers
refer to regular weaves, odd numbers to irregular weaves.
The no.93 is her catalogue’s last reference. It is an irregular ultra-chromatic.
Her materials are designed as much for interior applications as they are for
exterior ones, thanks to the enameled wires. The warp, or stainless steel
strand is a micro-cable, a coil of monofilaments. The weft is made up of silverplated and enameled copper monofilaments. The copper is used for its “weavability”. The silver protects the copper and serves as a neutral basis for the
dyeing. And lastly, the enamel serves as a protection against UVs, scratches...
6
Opposite and below:
Handmade models
Special creations
7
OFFER
FRENCH MADE PRODUCTS, USING EXLUSIVELY
METAL MATERIALS
Sophie Mallebranche offers a range of about fifty models of 100 %, naturally
non inflammable metal (M1/BS1d0).
Her collection is divided into three color ranges: the essentials (a dozen references) which include grey, pearl white, champagne, warm gold, black; the
naturals (twenty references), which enrich the essentials with satiny grey
colors of silver, shades of copper, coffee, brown and dark brown; and finally,
the ultra-chromatics (twenty-two references).
As Chanel, each product is identified by a specific number. Even numbers
refer to regular weaves, odd numbers to irregular weaves.
The no.93 is her catalogue’s last reference. It is an irregular ultra-chromatic.
Her materials are designed as much for interior applications as they are for
exterior ones, thanks to the enameled wires. The warp, or stainless steel
strand is a micro-cable, a coil of monofilaments. The weft is made up of silverplated and enameled copper monofilaments. The copper is used for its “weavability”. The silver protects the copper and serves as a neutral basis for the
dyeing. And lastly, the enamel serves as a protection against UVs, scratches...
6
Opposite and below:
Handmade models
Special creations
7
OFFER
Opposite and below:
Handmade models
Special creations
AN OFFER OF 100 %
FRENCH-MADE,
100 % METAL
PRODUCTS
Special orders are not listed in the
collections. It is one thing for the
human eye to be able to perceive
10 000 references, another one to
name all of them! Sophie Mallebranche’s work as a colorist has
brought her to propose a range of
900 Pantone reference colors.
Sophie is currently developing
two new collections. The first
one for more architectural and
monumental applications, a much
more technical dimension which
will enable, for example, the cladding of a building. In contrast, the
second collection is dedicated to
much more feminine applications:
combinations of natural fibers,
with a very fine and aerial execution – so evanescent that it is
almost immaterial.
8
9
OFFER
Opposite and below:
Handmade models
Special creations
AN OFFER OF 100 %
FRENCH-MADE,
100 % METAL
PRODUCTS
Special orders are not listed in the
collections. It is one thing for the
human eye to be able to perceive
10 000 references, another one to
name all of them! Sophie Mallebranche’s work as a colorist has
brought her to propose a range of
900 Pantone reference colors.
Sophie is currently developing
two new collections. The first
one for more architectural and
monumental applications, a much
more technical dimension which
will enable, for example, the cladding of a building. In contrast, the
second collection is dedicated to
much more feminine applications:
combinations of natural fibers,
with a very fine and aerial execution – so evanescent that it is
almost immaterial.
8
9
INSPIRATION
FROM ALCHEMICAL
DESIGN TO INDUSTRIAL
BESPOKE CREATIONS
IT IS A CHEERFUL FRENCH COUNTRYSIDE, THAT FALLS INTO THE
SEA. IT IS CALLED THE FLOWERY COAST [CÔTE FLEURIE]. AT THE
SEINE’S MOUTH, HONFLEUR. AND IN FRONT OF HONFLEUR, LE
HAVRE. IN HONFLEUR, THERE IS BAUDELAIRE’S “TOY HOUSE”,
THE DOCKS, THE IMPRESSIONISTS AND ERIK SATIE’S REPETITIVE
SCORES. IN LE HAVRE, IMPRESSIONIST CANVASES, AT THE DOCKS,
THE PROMISE OF NEW HORIZONS. FINALLY, THE “CHANGING
COLORATIONS OF THE SEA”, SET OFF BY CARGO STEAMS.
Below:
Pieces in the shape of Pears
Erik Satie
10
Sophie Mallebranche was born in
1976 in Honfleur, in the midst of a
sound gastronomic culture. Sophie
always says that her passion for
metal bloomed just like she did, in
the clutter of the gleaming kitchen
utensils, the blinding reflections
of the copper cooking-range. Not
really enough to become a pioneer
textile designer, a matter designer,
or simply a designer, a creator. For
the innovative warp wires, that are
horizontally stretched by Material
Design Group’s ingenious production equipment, are like the piano
wires in the Satie House in Honfleur, tirelessly repeating the composer’s musical motifs. The weaving loom’s repetition, the support
of this creation, opens staggering
prospects of imagination.
USING METAL
To bid farewell to macramé
and cotton fabric, Sophie Mallebranche had to break quite a
few weaving looms. “We would
add splints on the machine just
like one glues patches on a tube.
Breaking weaving looms taught
me how to delegate. I would go
to others to have things made.”
Above
Sophie Mallebranche Atelier
Rue des Gardes
© Carlos Munuoz Yague
Opposite:
The Maison Toiles de
Mayenne Atelier
11
INSPIRATION
FROM ALCHEMICAL
DESIGN TO INDUSTRIAL
BESPOKE CREATIONS
IT IS A CHEERFUL FRENCH COUNTRYSIDE, THAT FALLS INTO THE
SEA. IT IS CALLED THE FLOWERY COAST [CÔTE FLEURIE]. AT THE
SEINE’S MOUTH, HONFLEUR. AND IN FRONT OF HONFLEUR, LE
HAVRE. IN HONFLEUR, THERE IS BAUDELAIRE’S “TOY HOUSE”,
THE DOCKS, THE IMPRESSIONISTS AND ERIK SATIE’S REPETITIVE
SCORES. IN LE HAVRE, IMPRESSIONIST CANVASES, AT THE DOCKS,
THE PROMISE OF NEW HORIZONS. FINALLY, THE “CHANGING
COLORATIONS OF THE SEA”, SET OFF BY CARGO STEAMS.
Below:
Pieces in the shape of Pears
Erik Satie
10
Sophie Mallebranche was born in
1976 in Honfleur, in the midst of a
sound gastronomic culture. Sophie
always says that her passion for
metal bloomed just like she did, in
the clutter of the gleaming kitchen
utensils, the blinding reflections
of the copper cooking-range. Not
really enough to become a pioneer
textile designer, a matter designer,
or simply a designer, a creator. For
the innovative warp wires, that are
horizontally stretched by Material
Design Group’s ingenious production equipment, are like the piano
wires in the Satie House in Honfleur, tirelessly repeating the composer’s musical motifs. The weaving loom’s repetition, the support
of this creation, opens staggering
prospects of imagination.
USING METAL
To bid farewell to macramé
and cotton fabric, Sophie Mallebranche had to break quite a
few weaving looms. “We would
add splints on the machine just
like one glues patches on a tube.
Breaking weaving looms taught
me how to delegate. I would go
to others to have things made.”
Above
Sophie Mallebranche Atelier
Rue des Gardes
© Carlos Munuoz Yague
Opposite:
The Maison Toiles de
Mayenne Atelier
11
BESPOKE CREATIONS
IN PRAISE OF
SUPERABUNDANCE
Applied creation for Guerlain.
The director of the House’s merchandising department wanted
a golden material to cover her
space. A conceptual creation that
embodied itself in the space it
was offered. Sophie Mallebranche
first worked as a colorist on pale
gold, 18 and 24 carat gold, in order to find the good relationship
between warm and cool gold. The
gigantic lampshade is first covered with a chromed film, to give
it a mirror effect. The weave must
have enough of an openwork design to allow the reflection of the
material in the chrome. Its movement should also spark off, without obstructing it, the vibration
of the mirror through the relations
between the various depths. The
spectacular application conjures
up superabundance. It is the Guerlain gold.
A TRANSPARENT
PRAISE
Residential project on Astor
Place. Master-builder:Kris Lajeskie
Design.
The nearly-invisible matter is
revealed by light. A transparent
praise to the verticality of the
breathtaking view on Southern
Manhattan – the metallic fabric
of New York architecture.
12
A throbbing movement, a hermetic,
alchemical thinking in which the intellect replaces God, the transformation of metal is the ultimate expression of transcendence. How could we
not consider Sophie Mallebranche’s
weaving loom a stringed instrument –
enameled wires, made in Switzerland
– whose frame, the rhythmic score of
the industrial and yet bespoke compositions, eradicates the ugliness of
the world? Doing so outdoors, by
covering surfaces with a new monumental symbolism – as well as resacralizing interiors. “In Dior, there
is God and Gold” [“Dans Dior, il y a
Dieu et or“], once said Jean Cocteau.
Sophie works for Dior, as well as for
Chanel, Guerlain, Balenciaga. A natural association with luxury houses, for
in these cathedral-like flagships and
chapel-like corners, light (lux) is elevation.
Above:
Guerlain Flagship, Galeries Lafayette
Haussmann, Paris
On the right:
Astor Place, New York. Kris Lajeskie Design
13
BESPOKE CREATIONS
IN PRAISE OF
SUPERABUNDANCE
Applied creation for Guerlain.
The director of the House’s merchandising department wanted
a golden material to cover her
space. A conceptual creation that
embodied itself in the space it
was offered. Sophie Mallebranche
first worked as a colorist on pale
gold, 18 and 24 carat gold, in order to find the good relationship
between warm and cool gold. The
gigantic lampshade is first covered with a chromed film, to give
it a mirror effect. The weave must
have enough of an openwork design to allow the reflection of the
material in the chrome. Its movement should also spark off, without obstructing it, the vibration
of the mirror through the relations
between the various depths. The
spectacular application conjures
up superabundance. It is the Guerlain gold.
A TRANSPARENT
PRAISE
Residential project on Astor
Place. Master-builder:Kris Lajeskie
Design.
The nearly-invisible matter is
revealed by light. A transparent
praise to the verticality of the
breathtaking view on Southern
Manhattan – the metallic fabric
of New York architecture.
12
A throbbing movement, a hermetic,
alchemical thinking in which the intellect replaces God, the transformation of metal is the ultimate expression of transcendence. How could we
not consider Sophie Mallebranche’s
weaving loom a stringed instrument –
enameled wires, made in Switzerland
– whose frame, the rhythmic score of
the industrial and yet bespoke compositions, eradicates the ugliness of
the world? Doing so outdoors, by
covering surfaces with a new monumental symbolism – as well as resacralizing interiors. “In Dior, there
is God and Gold” [“Dans Dior, il y a
Dieu et or“], once said Jean Cocteau.
Sophie works for Dior, as well as for
Chanel, Guerlain, Balenciaga. A natural association with luxury houses, for
in these cathedral-like flagships and
chapel-like corners, light (lux) is elevation.
Above:
Guerlain Flagship, Galeries Lafayette
Haussmann, Paris
On the right:
Astor Place, New York. Kris Lajeskie Design
13
BESPOKE CREATIONS
HAUTE-COUTURE
DEDICATED TO PROJECTS.
THE MEANS BY WHICH THESE CREATIONS SUPPORT AND ECHO THE
BRAND’S UNIVERSE, STARTING FROM A CHARDONNAY, A TWEED
OR A FRAGRANCE.
CHRISTIAN DIOR
PERFUMES
Opposite:
Christian Dior perfumes.
New flagship concept
14
This is a fluid project, with a spectacular
realization, that recalls the Hervé van der
Straten collection of perfume bottles, as
well as the various J’Adore juices. As in
music, the emphasis is on repetition, the
resonance of colors and how they are lit.
A research in graphics, with anthracite as
well as cool and warm gold. A true pleasure for the creator, who was inspired by
Sol Lewitt’s conceptual work, who tries
and actually manages to offer a chromatic approach to a fragrance, with a dozen
threads, wires and various matters. A
technical backing strengthens the woven
metal, which enables to freely cut and
paste this unique matter.
Opposite:
15
BESPOKE CREATIONS
HAUTE-COUTURE
DEDICATED TO PROJECTS.
THE MEANS BY WHICH THESE CREATIONS SUPPORT AND ECHO THE
BRAND’S UNIVERSE, STARTING FROM A CHARDONNAY, A TWEED
OR A FRAGRANCE.
CHRISTIAN DIOR
PERFUMES
Opposite:
14
This is a fluid project, with a spectacular
realization, that recalls the Hervé van der
Straten collection of perfume bottles, as
well as the various J’Adore juices. As in
music, the emphasis is on repetition, the
resonance of colors and how they are lit.
A research in graphics, with anthracite as
well as cool and warm gold. A true pleasure for the creator, who was inspired by
Sol Lewitt’s conceptual work, who tries
and actually manages to offer a chromatic approach to a fragrance, with a dozen
threads, wires and various matters. A
technical backing strengthens the woven
metal, which enables to freely cut and
paste this unique matter.
Opposite:
15
BESPOKE CREATIONS
LAURENT PERRIER
CHANEL JAPAN
Brief: to invent a matter that
recalls the voluptuousness of
champagne. Sophie plays with a
selection of wires, that range from
bronze to warm gold. The final
weave is a surprising execution,
the pure product of research, a
living and changing surface. The
unexpected metamorphosis of a
liquid into a relief that won over
Laurent Perrier.
For Peter Marino, Sophie Mallebranche supplied an important production of handmade
samples, before adapting the manufacturing process to a broader
scale. A technical transgression
that goes beyond the textile universe. Sophie, while finding inspiration in the tweeds’ rhythm, incorporated another type of fiber:
surgical silicone… The effect on
the flagship’s façade was fantastic. Like a reversed rose window,
that illuminated the exterior.
Opposite and above:
Special order for Laurent Perrier
16
Opposite and above:
Chanel Boutique, Tokyo.
Peter Marino Architect
17
BESPOKE CREATIONS
LAURENT PERRIER
CHANEL JAPAN
Brief: to invent a matter that
recalls the voluptuousness of
champagne. Sophie plays with a
selection of wires, that range from
bronze to warm gold. The final
weave is a surprising execution,
the pure product of research, a
living and changing surface. The
unexpected metamorphosis of a
liquid into a relief that won over
Laurent Perrier.
For Peter Marino, Sophie Mallebranche supplied an important production of handmade
samples, before adapting the manufacturing process to a broader
scale. A technical transgression
that goes beyond the textile universe. Sophie, while finding inspiration in the tweeds’ rhythm, incorporated another type of fiber:
surgical silicone… The effect on
the flagship’s façade was fantastic. Like a reversed rose window,
that illuminated the exterior.
Opposite and above:
Special order for Laurent Perrier
16
Opposite and above:
Chanel Boutique, Tokyo.
Peter Marino Architect
17
THE ESSENTIALS
THE TRANSMUTATION
OF METAL INTO
SPIRITUAL GOLD
Golden No.30
TODAY, WITHIN MATERIAL DESIGN GROUP, SOPHIE
MALLEBRANCHE, ITS CO-FOUNDER AND ARTISTIC DIRECTOR,
IS DEVELOPING ITS OFFER. IN THE MIDST OF THE MANY
HORIZONTAL TREADLE LOOMS OF THE TWO-HUNDREDYEAR-OLD TOILES DE MAYENNE HOUSE (1806), THE MATERIAL
DESIGN GROUP PRODUCTION EQUIPMENT OFFERS A STRIKING
CONTRAST. THIS TRUE TECHNOLOGICAL UFO, TRANSFORMED
INTO AN ATHANOR (THE ALCHEMICAL FURNACE), TRANSMUTES
METAL INTO SPIRITUAL GOLD, ON A LARGE SCALE. IT BECOMES
A TEXTILE, WHILE KEEPING THE MEMORY OF ITS FORM, ITS
RESISTANCE… AN OFFER THAT THUS SPREADS FROM INDOORS
TO OUTOORS, THANKS TO THE EXTENSION OF ITS METAL AND
LIGHT WINGSPAN.
From interior decoration, its
innovative matters and designer
creations migrate to corners
and events, then façade design,
following architects’ desires, who
are won over by the broad field
of its proprieties (fire-retardant,
UV and humidity resistant…) and its
aesthetic possibilities.
In order to better seize the whole
18
Pearl white No.13
Champagne No.10
range of this creative activity,
which can transcend the quality
of objects, volumes and industrial
processes, one must understand
its poetics, its music, its colors, its
roots. This is the fabric of Sophie
Mallebranche’s craft, of her life and
story.
Middle grey No.3
Handmade sculpted model
Black No.51
19
THE ESSENTIALS
THE TRANSMUTATION
OF METAL INTO
SPIRITUAL GOLD
Golden No.30
TODAY, WITHIN MATERIAL DESIGN GROUP, SOPHIE
MALLEBRANCHE, ITS CO-FOUNDER AND ARTISTIC DIRECTOR,
IS DEVELOPING ITS OFFER. IN THE MIDST OF THE MANY
HORIZONTAL TREADLE LOOMS OF THE TWO-HUNDREDYEAR-OLD TOILES DE MAYENNE HOUSE (1806), THE MATERIAL
DESIGN GROUP PRODUCTION EQUIPMENT OFFERS A STRIKING
CONTRAST. THIS TRUE TECHNOLOGICAL UFO, TRANSFORMED
INTO AN ATHANOR (THE ALCHEMICAL FURNACE), TRANSMUTES
METAL INTO SPIRITUAL GOLD, ON A LARGE SCALE. IT BECOMES
A TEXTILE, WHILE KEEPING THE MEMORY OF ITS FORM, ITS
RESISTANCE… AN OFFER THAT THUS SPREADS FROM INDOORS
TO OUTOORS, THANKS TO THE EXTENSION OF ITS METAL AND
LIGHT WINGSPAN.
From interior decoration, its
innovative matters and designer
creations migrate to corners
and events, then façade design,
following architects’ desires, who
are won over by the broad field
of its proprieties (fire-retardant,
UV and humidity resistant…) and its
aesthetic possibilities.
In order to better seize the whole
18
Pearl white No.13
Champagne No.10
range of this creative activity,
which can transcend the quality
of objects, volumes and industrial
processes, one must understand
its poetics, its music, its colors, its
roots. This is the fabric of Sophie
Mallebranche’s craft, of her life and
story.
Middle grey No.3
Handmade sculpted model
Black No.51
19
THE ESSENTIALS
Opposite:
No.13_OW, separating walls, Kempinski
Hotel, Geneva
Specifier: Strausak Associés
Below:
No.19_BB, covering for reception desk,
Frésénius Kabi Elama, Paris.
Specifier: Design Wapler & Associés
N°19_BB
Private elevator, Paris
Specifier: Pierre Yovanovitch
20
21
THE ESSENTIALS
Opposite:
No.13_OW, separating walls, Kempinski
Hotel, Geneva
Specifier: Strausak Associés
Below:
No.19_BB, covering for reception desk,
Frésénius Kabi Elama, Paris.
Specifier: Design Wapler & Associés
N°19_BB
Private elevator, Paris
20
21
THE NATURALS
FROM INDUSTRIAL
MATERIALS TO A SENSITIVE,
PICTORIAL MATTER
No.12
No.17
No.15
No.19
STRETCHING FROM FAÇADE DESIGN TO OBJECTS, SOPHIE’S
CREATIONS AND ULTRA-CHROMATIC COLLECTIONS BORDER
ON MONUMENTALITY, TITILLATING THE EYE, PLAYING WITH
LIGHT REFLECTIONS ON THE NATIVE OCEAN, SHIP HULLS AND
THE IMPRESSIONISTS’ PALETTE.
Stretching from façade design to
objects, Sophie’s creations and ultra-chromatic collections border
on monumentality, titillating the
eye, playing with light reflections
on the native ocean, ship hulls and
the impressionists’ palette. He who
hasn’t seen, from the Flowery coast,
Le Havre’s port vanish into obscurity
without recalling the impressionists’
palette cannot grasp the richness and
the extension of her color chart. “To
me the motif itself is an insignificant
factor. What I want to reproduce, is
what exists between the motif and
me” said Claude Monet to his art
dealer, Paul Durand-Ruel. Sophie, in
her resolutely “business to business” approach, reproduces on a
broad scale what exists between the
22
motif and the mark: our captured
perceptions. She did so yesterday, as
an independent designer between
Paris, New York and Tokyo. And
since 2009 within Material Design
Group, where she is associated with
Guillaume Danset, to trigger, as she
says, “the project of industrializing
the manufacturing process of my
creations.”
1. Detail of
“The Seine Below Rouen”, 1872,
Claude Monet
No.08
No.04
2. Detail of
“Étretat: The End of the Day”, 1885,
Claude Monet
3. Detail of
“Impression, Sunrise”, 1874,
Claude Monet
4. Detail of
“Waterloo Bridge, Grey Weather”, 1901,
Claude Monet
No.25
No.26
No.51
23
THE NATURALS
FROM INDUSTRIAL
MATERIALS TO A SENSITIVE,
PICTORIAL MATTER
No.12
No.17
No.15
No.19
STRETCHING FROM FAÇADE DESIGN TO OBJECTS, SOPHIE’S
CREATIONS AND ULTRA-CHROMATIC COLLECTIONS BORDER
ON MONUMENTALITY, TITILLATING THE EYE, PLAYING WITH
LIGHT REFLECTIONS ON THE NATIVE OCEAN, SHIP HULLS AND
THE IMPRESSIONISTS’ PALETTE.
Stretching from façade design to
objects, Sophie’s creations and ultra-chromatic collections border
on monumentality, titillating the
eye, playing with light reflections
on the native ocean, ship hulls and
the impressionists’ palette. He who
hasn’t seen, from the Flowery coast,
Le Havre’s port vanish into obscurity
without recalling the impressionists’
palette cannot grasp the richness and
the extension of her color chart. “To
me the motif itself is an insignificant
factor. What I want to reproduce, is
what exists between the motif and
me” said Claude Monet to his art
dealer, Paul Durand-Ruel. Sophie, in
her resolutely “business to business” approach, reproduces on a
broad scale what exists between the
22
motif and the mark: our captured
perceptions. She did so yesterday, as
an independent designer between
Paris, New York and Tokyo. And
since 2009 within Material Design
Group, where she is associated with
Guillaume Danset, to trigger, as she
says, “the project of industrializing
the manufacturing process of my
creations.”
1. Detail of
“The Seine Below Rouen”, 1872,
Claude Monet
No.08
No.04
2. Detail of
“Étretat: The End of the Day”, 1885,
Claude Monet
3. Detail of
“Impression, Sunrise”, 1874,
Claude Monet
4. Detail of
“Waterloo Bridge, Grey Weather”, 1901,
Claude Monet
No.25
No.26
No.51
23
THE NATURALS
SABI APPROACH
The undulatory behavior of light
or diffraction interferes, in Sophie Mallebranche’s craft, with
cultural elements. She is sensitive
both to the wabi – the adoption
of her loom by the old stones
of a Cistercian abbey – and the
sabi aesthetics, the patina revealed in the object. Her work tries
to approach objects not through
form, but through the emptiness
and light that surround them. A
truly Japanese aesthetic, which
refers to Tanizaki, and his book,
“In Praise of Shadows”.
Above:
No.19_BB, private elevator, Paris
No.3, Acoustic panels
Museum of Hunting and Nature, Paris
Specifier: Jouve Vignaud Sazerat
24
Below:
No.3 monumental curtains,
Plaza Athénée, Paris
Specifier: Patrick Jouin
25
THE NATURALS
SABI APPROACH
The undulatory behavior of light
or diffraction interferes, in Sophie Mallebranche’s craft, with
cultural elements. She is sensitive
both to the wabi – the adoption
of her loom by the old stones
of a Cistercian abbey – and the
sabi aesthetics, the patina revealed in the object. Her work tries
to approach objects not through
form, but through the emptiness
and light that surround them. A
truly Japanese aesthetic, which
refers to Tanizaki, and his book,
“In Praise of Shadows”.
Above:
No.19_BB, private elevator, Paris
No.3, Acoustic panels
Museum of Hunting and Nature, Paris
Specifier: Jouve Vignaud Sazerat
24
Below:
No.3 monumental curtains,
Plaza Athénée, Paris
Specifier: Patrick Jouin
25
No.81_OW
No. 83
No.93
No. 71
No.45
This practice of transforming
industrial materials into sensitive matters reveals to us that
life is not only made of atoms.
Then, in our imagination, Sophie leaves Paris for Balbec, a
seaside resort on the Flowery
coast, which Proust invented
from scratch. This is where we
find Elstir’s residence, the painter of the “In Search of Lost
Time”, who endlessly renews
his art… just like the narrator’s
eye. Sophie is Elstir, dealing
with these matters that are
constantly renewed and seducing, these innovative materials, which she weaves from
nothing and which redefine
and enrich our universe.
No.91_OW
No.73_OW
No. 35
No.44
26
27
No.81_OW
No. 83
No.93
No. 71
No.45
This practice of transforming
industrial materials into sensitive matters reveals to us that
life is not only made of atoms.
Then, in our imagination, Sophie leaves Paris for Balbec, a
seaside resort on the Flowery
coast, which Proust invented
from scratch. This is where we
find Elstir’s residence, the painter of the “In Search of Lost
Time”, who endlessly renews
his art… just like the narrator’s
eye. Sophie is Elstir, dealing
with these matters that are
constantly renewed and seducing, these innovative materials, which she weaves from
nothing and which redefine
and enrich our universe.
No.91_OW
No.73_OW
No. 35
No.44
26
27
HANDLING THE
CREATIONS AS
WORKS OF ART
Opposite:
“Contemplation” installation, Tokyo
No. 75_Canopy.
Café môm, Paris
Specifier: Isabelle Lair-Ranger
The rolls that are produced must
on no account be put in contact
with other materials. The chucks
are suspended in made-to-measure wooden crates. As for the
transportation of works of art,
the crates are equipped with
shock and rotation sensors
(stock watch).
TELLURIC APPROACH
“No ambitious project ever
succeeds without great peril”,
as an old Japanese man told
Sophie during her first trip to the
Country of the Rising Sun, when
telluric jolts and bad weather
constantly threatened to destroy
her installations. She never forgot
that appeasing sentence.
No.83_BB, Headboard,
hotel rooms project, pending.
28
29
HANDLING THE
CREATIONS AS
WORKS OF ART
Opposite:
“Contemplation” installation, Tokyo
No. 75_Canopy.
Café môm, Paris
Specifier: Isabelle Lair-Ranger
The rolls that are produced must
on no account be put in contact
with other materials. The chucks
are suspended in made-to-measure wooden crates. As for the
transportation of works of art,
the crates are equipped with
shock and rotation sensors
(stock watch).
TELLURIC APPROACH
“No ambitious project ever
succeeds without great peril”,
as an old Japanese man told
Sophie during her first trip to the
Country of the Rising Sun, when
telluric jolts and bad weather
constantly threatened to destroy
her installations. She never forgot
that appeasing sentence.
No.83_BB, Headboard,
hotel rooms project, pending.
28
29
PARTNERSHIPS
OUR MACHINES
OUR PROCESS
OUR PARTNER
Beneath the ancient trees, a Cistercian abbey: the honorable Toiles de
Mayenne House, set up in FontaineDaniel for the past 200 years. An
important place of industrial pilgrimage, where textile is a mission. Inside, amidst the traditional weaving
looms, a technological UFO, the loom
dedicated to Sophie Mallebranche’s
innovative creations. The product
of a unique collaboration between
Grégoire Denis, the President of the
Toiles de Mayenne, and Material Design Group. A technologically innovative project set in a traditional
land, that respects the craftsman,
the worker, under the aegis of two
workshop leaders: Daniel Roulette
and Hubert Cournée. The project was
supported by the Francilien Centre
for Innovation, Oseo, Paris Pionnières
and Mayenne Expansion for a “Made
in France” industrial innovation. The
imminent delivery of a second metal
weaving loom will help innovation –
“the perpetuation of endless questions”, as Sophie Mallebranche puts it.
Right:
Cistercian abbey.
Toiles de Mayenne
in Fontaine-Daniel (53100).
Opposite:
aerial view
of the Toiles de Mayenne manufacture in
Fontaine-Daniel (53100).
30
31
PARTNERSHIPS
OUR MACHINES
OUR PROCESS
OUR PARTNER
Beneath the ancient trees, a Cistercian abbey: the honorable Toiles de
Mayenne House, set up in FontaineDaniel for the past 200 years. An
important place of industrial pilgrimage, where textile is a mission. Inside, amidst the traditional weaving
looms, a technological UFO, the loom
dedicated to Sophie Mallebranche’s
innovative creations. The product
of a unique collaboration between
Grégoire Denis, the President of the
Toiles de Mayenne, and Material Design Group. A technologically innovative project set in a traditional
land, that respects the craftsman,
the worker, under the aegis of two
workshop leaders: Daniel Roulette
and Hubert Cournée. The project was
supported by the Francilien Centre
for Innovation, Oseo, Paris Pionnières
and Mayenne Expansion for a “Made
in France” industrial innovation. The
imminent delivery of a second metal
weaving loom will help innovation –
“the perpetuation of endless questions”, as Sophie Mallebranche puts it.
Right:
Cistercian abbey.
Toiles de Mayenne
in Fontaine-Daniel (53100).
Opposite:
aerial view
of the Toiles de Mayenne manufacture in
Fontaine-Daniel (53100).
30
31
BIOGRAPHY
KEY DATES
A FEW FIGURES
1976 : Born in Honfleur, Calvados region.
1998 : Graduated from the Duperré Superior School of Decorative
Arts [École Supérieure des Arts Appliqués] in Paris, in textile
design.
2000 : Opened her first showroom, rue de la Mode, in the Barbès
neighborhood of Paris.
2002 to 2005 : Matter creation program for Chanel, her historical
client (Peter Marino Architect, New York).
2004 : First trip to Japan, invited by the French Association for
Artistic Action [Association Française pour l’Action Artistique]
and Culture France. She conceived three installations there.
2005 : Delivery of the first monumental execution, at the Plaza
Athénée (Patrick Jouin, designer).
2006 to 2008 : Development of the activity on the East coast of
the United-States.
2009 : Association with Guillaume Danset; Material Design Group
SAS is created.
2009 : Material Design Group signs an industrial partnership with
the two-hundred-year-old Toiles de Mayenne House, to develop
its own production equipment.
2011 : Sophie Mallebranche signed with Louis Vuitton Malletier
and Christian Dior Parfums the referencing of the matters created
for these Houses and their international development.
2012 : Sophie Mallebranche’s activity now involves seventy people.
Three : the number of looms
broken before patent registration.
Five million wires woven in
two years.
Eight and a half million meters of woven wires.
MAV 1976 : first weaving loom
on which Sophie Mallebranche
ever worked. It is barely her age.
70 people have participated in
the industrialization project.
AWARDS AND HONORS
Rising Star Awards 2007 – the Fashion Group International.
Interior Design Finalist.
Design Editors Award 2006 – category: Textile – ICFF – New York.
Masters of Entrepreneurship – Category: Independent Designer
– delivered by the French State, at the Senate.
2005 Design Observatory Star – APCI – Category: innovative
material, for the Plaza Athénée project.
Selection by the Ministry of Foreign Affairs and the AFAA , for
the Plaza Athénée project.
Volunteer for International Experience in the Administration
[Volontariat International en Administration] “Permanent call”,
2001 fellowship for the “Incubator” [Couveuse] extra stool
prototype, exhibited at the Paris Conran Shop, opposite Frank O.
Gehry’s “Wriggle Side Chair”.
1999 Museum Expression competition –Objects for the Georges
Pompidou Center, Paris: First Prize.
32
33
BIOGRAPHY
KEY DATES
A FEW FIGURES
1976 : Born in Honfleur, Calvados region.
1998 : Graduated from the Duperré Superior School of Decorative
Arts [École Supérieure des Arts Appliqués] in Paris, in textile
design.
2000 : Opened her first showroom, rue de la Mode, in the Barbès
neighborhood of Paris.
2002 to 2005 : Matter creation program for Chanel, her historical
client (Peter Marino Architect, New York).
2004 : First trip to Japan, invited by the French Association for
Artistic Action [Association Française pour l’Action Artistique]
and Culture France. She conceived three installations there.
2005 : Delivery of the first monumental execution, at the Plaza
Athénée (Patrick Jouin, designer).
2006 to 2008 : Development of the activity on the East coast of
the United-States.
2009 : Association with Guillaume Danset; Material Design Group
SAS is created.
2009 : Material Design Group signs an industrial partnership with
the two-hundred-year-old Toiles de Mayenne House, to develop
its own production equipment.
2011 : Sophie Mallebranche signed with Louis Vuitton Malletier
and Christian Dior Parfums the referencing of the matters created
for these Houses and their international development.
2012 : Sophie Mallebranche’s activity now involves seventy people.
Three : the number of looms
broken before patent registration.
Five million wires woven in
two years.
Eight and a half million meters of woven wires.
MAV 1976 : first weaving loom
on which Sophie Mallebranche
ever worked. It is barely her age.
70 people have participated in
the industrialization project.
AWARDS AND HONORS
Rising Star Awards 2007 – the Fashion Group International.
Interior Design Finalist.
Design Editors Award 2006 – category: Textile – ICFF – New York.
Masters of Entrepreneurship – Category: Independent Designer
– delivered by the French State, at the Senate.
2005 Design Observatory Star – APCI – Category: innovative
material, for the Plaza Athénée project.
Selection by the Ministry of Foreign Affairs and the AFAA , for
the Plaza Athénée project.
Volunteer for International Experience in the Administration
[Volontariat International en Administration] “Permanent call”,
2001 fellowship for the “Incubator” [Couveuse] extra stool
prototype, exhibited at the Paris Conran Shop, opposite Frank O.
Gehry’s “Wriggle Side Chair”.
1999 Museum Expression competition –Objects for the Georges
Pompidou Center, Paris: First Prize.
32
33
ADDRESSES
EUROPE
PARIS
LONDON
BENELUX
USA
NEW-YORK
CHICAGO
ASIA
TOKYO
TAIWAN
HONG-KONG
SHANGHAI
BEIJING
SINGAPORE
AN INTERNATIONAL
PRESENCE
The broad field of aesthetic properties and possibilities of Sophie
Mallebranche’s creations naturally echoes with international
projects, which are the essential
framework of her activity and
business.
Project management and followup is carried out thanks to an
international team, established in
thirteen cities on five continents.
OCEANIA
MELBOURNE
SYDNEY
MIDDLE-EAST
SAUDI ARABIA-JEDDAH
PARIS
SOPHIE MALLEBRANCHE / MATERIAL DESIGN GROUP
47 RUE MARCEL DASSAULT
92100 BOULOGNE BILLANCOURT
FRANCE
+33 1 57 63 80 00
[email protected]
www.sophiemallebranche.com
Sophie Mallebranche® Material Design Group SAS
Photos: Karym Bagoée - Nicolas Buisson - Augustin de Valence - Carlos Munuoz-Yagüe
34
35
ADDRESSES
EUROPE
PARIS
LONDON
BENELUX
USA
NEW-YORK
CHICAGO
ASIA
TOKYO
TAIWAN
HONG-KONG
SHANGHAI
BEIJING
SINGAPORE
AN INTERNATIONAL
PRESENCE
The broad field of aesthetic properties and possibilities of Sophie
Mallebranche’s creations naturally echoes with international
projects, which are the essential
framework of her activity and
business.
Project management and followup is carried out thanks to an
international team, established in
thirteen cities on five continents.
OCEANIA
MELBOURNE
SYDNEY
MIDDLE-EAST
SAUDI ARABIA-JEDDAH
PARIS
SOPHIE MALLEBRANCHE / MATERIAL DESIGN GROUP
47 RUE MARCEL DASSAULT
92100 BOULOGNE BILLANCOURT
FRANCE
+33 1 57 63 80 00
[email protected]
www.sophiemallebranche.com
Sophie Mallebranche® Material Design Group SAS
Photos: Karym Bagoée - Nicolas Buisson - Augustin de Valence - Carlos Munuoz-Yagüe
34
35

Access the press kit - Sophie Mallebranche

Transcription

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