I live in, by and through color.

Color is much more than a simple shade or hue in my world. It is a vital force that guides and gives profound meaning to my existence. My connection with color is intimate, almost organic, and can be compared to the passionate relationship some people have with music.

Colors have an immeasurable influence on our daily lives. They awaken memories, give life to our language, and nourish our artistic imagination. At my humble level, I find an inexhaustible source of joy in bringing them to life every day in my magic cauldrons.

It's a never-ending process, a perpetual quest. There's always a new color to discover, capture and integrate into the visual symphony that is my passion. Color is the thread that weaves together the emotions, stories and moments of our lives, and I strive to celebrate this infinite beauty through my work.

It's a family heritage that I was introduced to as a child. My grandfather was an industrial architect, one of the pioneers of ergonomics, one of those who quickly understood the role and influence of color in working environments. As for my grandmother, she was the ambassador for the most famous houses of La Soirie de Lyon, for whom she traveled all around the world.

I remember her office, literally buried under an avalanche of fabric color charts. She had one foot in fashion and the other in interior design. She had a deep admiration for David Hicks, whom she visited frequently, always dressed in Missoni or Rykiel. They shared an unconditional love of color. David Hicks was fond of proclaiming "Mousey Colors are for mousey people !". It was a time when color reigned supreme, a time of "life in Kodachrome"!

My mother continued this tradition, oscillating between Paris and New York. She remained impervious to the rise of monastic white or the advent of black as a uniform and new dress code in the fashion world. She turned to Gaultier, Castelbajac, sported creations by Kenzo and admired Jonathan Haler, whom she saw as the heir to David Hicks. She was modestly active in the decorative arts, using traditional craft techniques such as painted sheet metal and Sèvres porcelain to inject intense, joyful pop colors. We never had white porcelain, white sheets, white walls, or black, gray or beige furniture!

For its bewitching texture! In Haute Couture, knitwear collections have always struck me as the most spectacular. Wool is one of humanity's oldest textile crafts, long before the invention of weaving looms. With it, we preserve the ancestral skills of shepherds watching over their flocks, from spinning to dyeing to knitting. It's fascinating to reconnect with this rich heritage from all times and all countries, and then pass it on to others.

It is out of respect for this age-old art that I have deliberately chosen to dye only exceptional wools, without synthetics, selected from the best suppliers. Merino, alpaca, silk, cashmere, yak, mohair: wools that are so hard-wearing and soft that they can be worn like a second skin.

I particularly enjoy mixing textures: working on the same project with a smooth, shiny wool alongside a more rustic one. Playing with twisted, cabled, slub or curly yarns, interspersing a halo of mohair from one row to the next. In my work, playing with textures is just as essential as the variety of colours.

There are some great artists in this field, from the famous Kaffe Fassett to Stephen West and Brandon Mably, a far cry from the worn-out image of our grandmothers' knitting. You can see the rise of these 'knitting cafés' in our big cities, where the new generation to which I belong is rediscovering in this craft a blend of tradition and roots on the one hand, and creation and innovation on the other."