It’s a position that took me a long time to develop and to accept. I believe that ever more in our time, the barrier between fiction and reality is becoming very thin (if there is a barrier at all) and that we can play with it and use it for positive purposes. My designs are therefore designed for those moments when reality and fiction merge, and through which we (designers) can subtly convey ideas or messages. I play with all the elements that make up our time, our daily lives and our ways of being to propose pieces that seem familiar but nevertheless stimulate debate, imagination and open up the field of possibilities. I believe that there is as much value in creations intended for our daily lives, and those intended for stimulation and debate, however, I recognise that the latter must be associated with the right environment, the right way of communicating, presenting or proposing them. So, through public figures: red carpets, mediatised hotel exits etc. are all fictional moments with a totally real character that could be shaped (especially through the accessories worn) to surprise, propose and stimulate reality. Some of my pieces, such as the phone bags or the historical crinoline made from shopping bags, are precisely designed to question human behaviour while remaining very familiar, very “real” and understandable, but should not in my opinion, be part of a marketing scheme. On the other hand, these aesthetic, functional and symbolic experiments are complemented by a new way of constructing and producing bags through 3D printing, with the long-term aim of also inspiring or collaborating in the creation of everyday transitional accessories more rooted in the common modern needs of our society and shaping the surrounding world.

You took the most commercial fashion items: “the bags” and made them the center of your experimentation is this a provocation to the fashion system? Or have you just tried to focus creativity on bags that normally offer little experimentation with shape?
My background in product design and the parallel realities I imagine have naturally led me to work with the bag, an object with which one can tell many stories. I see my work more as an experimentation around the object/jewellery to be worn, which nowadays naturally becomes a “bag” when a strap is added or when it is held in the arms. It is true that it is difficult today to dare formally in the field of the bag, notably in relation to its function as a container and often resulting from an expectative work linked to the development of clothing. But it is also true that I am stimulated by this desire to see, to show and to propose “something else” when referring to a bag. I believe that the “bag” has now become an object in its own right that can easily be dissociated from its main function as a container, and that from there, yes, we can open up to new research, experimentation and proposals, not intended to become part of everyday life straight away, as I said above, but rather to tickle a whole system first. It is a way of doing and thinking that is notably present at times in the Haute-Couture of clothing, and I would be delighted to legitimise in the long term this notion of « High accessory ». Rather than a provocation, I aspire more to stimulate: the general public but also the fashion world itself.

The unique thing about your design accessories is that they look like alien creatures who live their life regardless of the life of the person they belong to, The Vor accessories are a living work of art, how did you come to this reflection on design?
I gather all my inspirations (architecture, sculpture, film passages etc.) into my own imagined cinematics, the scenarios we talked about at the beginning. In these cinematics, a main fictional character is always recurring. A character who is present among us, but who perceives a parallel reality, with a mysterious, determined and even dangerous aura. It is all this that I personify through my bags. Unlike clothing, the bag is never totally linked to the body, but forms an entity in its own right that I try to make the most of. I like to think that they exist independently of our perception, and that they cannot be exhausted by our relationship with us. I therefore imagine them as sculptures, possessing a presence in space even when not worn – immobile, and therefore more permanent in time. I wanted to legitimise equally the fact of wearing them or not wearing them, of being able to simply put them down, show them, walk them around and not necessarily “use” them as we normally understand. Simply placed in an interior, worn on the body or placed on a restaurant table, they are designed to attract the eye, embellish the space and the body, accompany us and take us to a new, more sensitive and unknown world.