After elevating marble and leather to contemporary nobility, YMER & MALTA decided to have its team of designers work on a technique that is part of the great tradition of French craftsmanship, marquetry.
This is quite the challenge as in the 20th century, only “art nouveau” and “art deco” offered an era-appropriate approach to cabinet making, the former with a legitimate naturalist take, the latter content to stylise motifs from the century of the Enlightenment, enriching them with ivory and mother-of-pearl. So obviously Benjamin Graindorge, Sylvain Rieu Piquet, Normal Studio, Sébastian Bergne started with a blank page. All the more so as they were all absolute beginners in terms of technique.
As is the case with each new project, Valérie Maltaverne played the role of producer to the full, selecting the both the craftspeople – carpenters, cabinet-makers, marquetry experts, varnishers – and the types of wood and types of varnish which vary according to each project. The dialogue between the designers and the craftspeople was one of the keys to the success of the undertaking due to the complexity of the subject. Benjamin Graindorge’s project required almost three thousand pieces cut with precision in seventeen different colors.
However, it was not a question of creating masterpieces in the 18th century sense of the term, settling for a contemporary motif in marquetry, but to propose a right and new path for an artisanal mode of expression with the aim of giving it an up-to-date legitimacy and a long term existence outside the usual fields of restoration and antique copies. On both sides, solving problems has led to work that is typical of YMER&MALTA, a human and technical adventure in the production of timeless creations with strong identities, with a level of perfection in the execution that utterly respects the truth of the materials and the skills used.