An exhibition curated by Moustache showing 100 unique, unseen and exceptional pieces and crowned by an Auction party
Favoris are those which, through their merit or their beauty, are particularly favoured, those which are the most preferred by the powerful.
Favoris is also, and is less well-known, the name the French generally use to describe the hair extending down each side of the face and to where it becomes a beard.
A close relative of Moustache, Favoris is to be seen as a step sideways for the publishers that we are, temporarily opening up an unrestricted territory to be explored, a place for normally forbidden experiments.
Times are changing!
And so is the practice of designing and producing the objects all around us.
The ideological legacies deriving from the industrial revolutions and the all-plastic era are still with us today but we are compelled, for those who work as we do as producers of objects intended for the home, to note that the era of standard for all is disappearing and to set up the unique era for all.
The whole world is working furiously to perfect globalised commerce and economy even if it means bringing an uncontrollable multi-headed monster into being.
It only survives through the willingness of its creators to keep an obsolete cultural and economic model going at any price and which is based on the concept that our consumer products can be reproduced to an unlimited degree.
Of course, consumers go along with the concept of "standard for all" but many of their habits, products they consume, paradoxically experiment their need to escape it.
Young contemporary designers, aware that the economic model in which they were born is running out of steam have started more exploratory practices, committing nobody but themselves, building up strategies to escape from the clutches of industry.
One can no longer fail to see that human beings will henceforth view their home as an extension of themselves and as a means of painting and sending their portrait to others.
So how can we continue to express our faith and to indefinitely renew our confidence in a model whose practice that, lifted to its pinnacle, consists in gathering crowds in yellow and blue temples skilfully spread over the five continents to pace the marked path and trapped in the search for the "unusual" product sold hundreds of times a minute to customers of so many different types?
So how much longer must we only have the same tools as those we don't want to resemble, to draw this portrait, to mark its uniqueness?
How can our individualities, our characters, our differences persist in a massive collective consumption of products that are identical in all ways.
We are living this paradox in our practice even as a publisher.
To progress, serial objects must be produced at the best price to achieve the best sales. By never giving up inspiring the strongest possible cultural element, by trying to root our productions in the contemporary and by trying to involve their users, our customers, in their own contemporaneousness.
Our role as a publisher of furniture and objects, this role which gives a meaning to our profession; we see it as a challenge, even as a mission.
However, there are a certain number of new practices, prospects, both innovative and intelligent that the publishing system as it was developed cannot be considered within the context of what we produce.
This is very frustrating!
The projects are many that we abandoned since we were unable to produce them or because they were impossible to reformat so as to push them through the tight publishing tube.
With the appearance of these new design practices, many galleries simultaneously appeared to display and sell the result of these thought.
Without them, this work developed outside the publishing circuits, the industry would have nowhere to exist.
Of course, one must therefore rejoice in their existence but, at the same time, one must regret that consequently consumers interested in these objects were enormously impoverished.
The time has long gone by when, in France, to cite the country we know best, limited editions of signed pieces could be bought in scholarly and enthusiastic galleries.
Some of them still exist but the market has changed and these objects only attract a tiny number of very wealthy design-lovers and often very few are informed.
One must with difficulty note that no longer can either the publishing profession we enthusiastically practice, or the desires of the collectors that we are satisfied!
At the last SFF fair in Stockholm in February, at the invitation of our friend Connie Husser, we attended the auction organised and run by Kristoffer Sundin, Frederik Paulsen and Simon Klenell from Ornsbergauktionen.
The quality of the items presented there, the prices at which they were sold and also the public in the room were astonishing and encouraging.
A type of festive alternative auction, held in the studio of an enthusiastic glassmaker, where extraordinary pieces can be bought for just a few hundred euros.
An auction stripped of its frills, promoting committed contemporary design intended for an informed and open-minded public, with poorly, averagely or well-filled wallets.
The most encouraging thing was to observe that, where it is normal to see salerooms filled with collectors and dealers; there were very young people all through the sale buying these objects that are generally out of their range.
Rejoicing and a little astonished by this spectacle, we immediately thought of holding an exhibition in Paris crowned by a sale such as this one to promote projects that, we cannot always support and produce with Moustache but who we admire.
Released from our customary constraints, we only have to make a list of the designers with whom we dream of working but with whom it is complicated to organise as their productions are technically futuristic or brilliantly handcrafted…
We are putting this exhibition together quite subjectively, like an exploratory notebook full of impossibilities which deserve to be shown, such as Moustache's ideal cabinet of curiosities.