We asked some questions to the French designer Marine Peyre about her brand "Marine Peyre Editions", her work and future projects.
Tell us a little about yourself, what’s your background?
I developed an interest in design while studying architecture, and then while studying fine arts. I immediately launched into my solo adventure after my diploma by creating the brand “cooked in Marseille”, which produced silicon objects.
My work then evolved towards furniture and space in what became my brand, “Marine Peyre Editions”; it’s quite visible if you look at my current seating furniture collections, which are linked to their environment.
How would you define your brand’s identity?
My brand designs seating furniture that is both minimalist and “maximalist”, playful and adjustable, in the spirit of pop art, where materials inform ergonomics and usage. The furniture pieces are worked with only two source materials: foam in various forms and fabric.
Manufacturing in France is very important to me, it’s part of the brand’s identity, which aims to highlight the know-how of manufacturers and practice an ethical approach to work.
There’s always an element of playfulness in your work.
Because I’m an overgrown child :) ! and also because I like to consider the movement inherent in forms, or the ways in which they transform… To me a piece of furniture isn’t static and should be open to the realm of possibility, it should allow one to transform the space as well as invent new domestic attitudes.
Where does your inspiration come from?
I draw from a number of things, design of course but also from contemporary art, fashion, things I see on the street… traveling, ways of living. I don’t plan my ideas, they just happen through serendipity.
If you had to choose only one of your creations, which one would it be?
The BFLEX sitting system, because of its obvious simplicity. It’s made of foam “beams” and allows anyone to project themselves into different universes, different ways of communicating, of sitting, working… It’s basically a “furniture game” in which you can do anything.
You have collaborated with other brands, with Atema for instance. How do you pick your collaborations?
My collaborations are the result of chance encounters, from which arise certain affinities and a desire to collaborate. For Atema, the link between acoustics and the seating system is obvious, it allows the creation of real resting spaces, a global universe.
A project you would have loved to have been involved in?
The refurbishing of the Elysée Palace by Pierre Paulin in 1971 for Georges Pompidou!
Do you consider yourself an artist or an artisan?
Neither, not an artist because I work within a set of constraints, a market, and with products that can be reproduced industrially, nor an artisan because my hands aren’t doing the work… I consider myself more of a designer.
What are your future projects?
For the “Marine Peyre” brand, I’d like to adapt the Noda seating system and open my brand to other designers too. In terms of collaborations, I’m working on some children’s design projects, but it’s a little early to say more about that…