Amsterdam-based studio, Atelier Constant, debuts Egelantier, a collection of functional art objects expressing juxtaposed materiality and organic geometries.

October, 2021––Amsterdam-based studio, Atelier Constant, debuts, Egelantier, their first collection of six pieces, a low table, a table lamp, a coat holder, a low cabinet, a seater, and a shelf that demonstrate the studio’s affinity to quality, restraint, and an elegant expression of organic forms.

The promising young design duo–– formed by Dutch native Nina Constant and French Pierre Constant ––seek to express art through the medium domestic objects, by employing a design approach that respects the heritage and practice of French and Dutch mid-war crafts. Titled after their Amsterdam address, Egelantier’s, core principle is restraint in materiality, conveyed by using only four pure materials throughout; Elmwood, brushed aluminum, untreated wool, and bent plywood.

Close interaction with local artisans is essential to Atelier Constant’s process. The studio employs crafts people’s experience and knowledge to provide an immediate impact on the design result. Authentic techniques such as bookmatching are combined considerately with 3D Bending to create contemporary sculptural pieces that honor craftsmanship and transcend traditional practice. Atelier Constant’s choice to withhold ornament and prioritize a limitation in materiality is a clear tribute to the authorities of mid-century design – albeit conceiving a visual language that is their very own : Playful proportions and a bold mix of the organic with the geometric. Through Egelantier, Constant strives to create a new vision for an authentic, refined, contemporary design that fundementally lives in the present–– deploying this ethos to define the conception of each piece.

The first piece of the Egelantier, slated for release at the start of December 2021, is ‘‘Table sur Pied” a low table, subsequently to be followed by a table lamp, a coat holder, a low cabinet, a two-seater, and a shelf that will debut through the remainder of the year, and into 2022.

The “ Table sur Pied ” (195 x 89 x 36cm) is cut from a singular plank of elm. Its irregular composition reflects the unique pattern of the wood and is enhanced by a bookmatching technique. Four circular aluminum legs are positioned offset from each other to give the elm the stable ground it needs. The elm used originates from the Dutch-German border is cut to prevent the tree from extinction. The production of both the assembly of the table and finish of the aluminum takes place in different villages around the Netherlands. Working in close vicinity to craftsmen and provenience of goods is essential to the duo’s sculptural approach that responds to the



It's a story of friendship, fun and meeting new people! 2 College friends with a passion for design who, in the confinements of 2020, started to imagine a different and joyful furniture for their homes, using their skills in product conception, design and engineering. This was followed by meetings with passionate French artisans, with whom they created their first object: Ciluzio!

Inspired by the creations of Ettore Sottsass and the Memphis group, as well as by the colorful compositions of Sol Lewitt, Sonia Delaunay, or Piet Mondrian, AAMA Design has created CILUZIO: a lighting fixture with essential shapes, both pure and soft, sublimated by unique color combinations, composable and re-composable to infinity. This patented system of assembly of cylinders and colored trays allows to create singular compositions according to the tastes and the needs of each.



With his agency Crosby Studio, designer and architect Harry Nuriev will produce a series of furniture and take over room 36 for a global design set. This will be the first room in this mythical hotel to be completely redesigned, offering residents a very personal reading of this historic place which was the bohemian refuge of many artists.

Familiar with 3D imaging technologies, Nuriev, who became interested in augmented reality and NFTs very early on, will extend his project by composing an entirely virtual La Louisiane; acontextual and contemporary work that this young prodigy has been carrying out for several years in his projects for Balenciaga or for the Design Miami/Basel fair, and which he continues here, in a dialogue between the essence of the hotel and Harry's pixelated universe.



Curator Alexandre Stipanovich (for Firmament Studio) has imagined Midnight Fruits, a club inside a gallery, in homage to the world of nightlife lost to the pandemic. One of the highlights of this ephemeral nightclub is the couch designed by Rafael de Càrdenas "Happy Valley" which draws its inspiration from the energy and aesthetics of the New York club scene of the 80s. It is a modular couch designed to welcome chaotic seating and multi-entry conversations.

Since founding his multidisciplinary practice almost ten years ago, New York-based designer and architect Rafael de Cardenas has been the recipient of numerous awards and were the subject of a book-length monograph published by Rizzoli in 2017. His projects for clients including Nike, Kenzo, Baccarat, Glossier, Cartier, and Nordstrom – as well as numerous private individuals – span the U.S., Europe, and Asia. Known for his bold, geometric and luxurious designs, Cardenas began his career in fashion, working for Calvin Klein before moving into production design and finally founding Architecture at Large in 2006. He’s been featured in countless publications, from The New York Times to Vogue, and his passion for nightclubs and nightlife is the reason behind his contribution for Midnight Fruits furnitures production .

Galerie Pradier-Jeauneau

Marché Paul Bert
Allée 6 Stand 93
XXe siècle
+33(0)6 50 69 63 89

The Pradier-Jeauneau gallery presents The Room of the Nomadic Writer in La Louisiane. With no ties, he lives from one hotel room to another around the world, where he sets up a tent, half Berber, half Roman. A world unfolds there: armchairs, desk, and daybed where memories mingle with promises. From floor to ceiling, the tent will be in fuchsia velvet, a vibrant and urban color. The monumental installation will make you forget the hotel room. Just like what
offered to its illustrious residents, our nomadic writer is at home here:
a bivouac filled with his sharp, queer, and irreverent imagination. For this first participation, Aurélien Jeauneau and Jeremy Pradier-Jeauneau call on their partner Vincent Thévenon of the Maison Thévenon. Between the three of them, they invented a flamboyant and out-of-time "Louisiane" color.
Aurélien Jeauneau and Jeremy Pradier-Jeauneau defend the French designers of the 20th century. The pair met at the Institut National d'Histoire de l'Art in 2007, and continue their research on the decorative arts from the French Reconstruction to the present day.
With numerous thematic exhibitions to its credit and prestigious collaborations, the Pradier-Jeauneau gallery has developed an expertise in exceptional furniture, between collections, decoration, literature, and cinema.



A graduate of the École Nationale des Arts Décoratifs in Paris with a degree in photography, Johanna de Clisson began to put her skills at the service of brands at an early age by founding Simone, her own communications agency. Caught up in a whirlwind of images and projects, she left aside her first love, free artistic practice. In 2020 she returned to it and launched Hiromi. Hiromi is a breath of fresh air that Johanna devotes to know-how. In her studio she handcrafts ceramic sculptures, guided by her inspirations. The architects Tadao Ando, Niemeyer, Corbusier; the designers Vico Magistretti or Alvar Aalto animate her gestures. Her drawings and research are in search of simple and archetypal forms. The precision of her hand, her taste for detail and her freedom produce hybrid objects to be adopted without pre-defined desires. She constantly oscillates between art and design, the functional and the decorative.

Hiromi is a workshop where no research or experience is put aside. Hiromi tends to collaborate and exchange. To mix its DNA with other know-how or other visions. Hiromi is a new chapter that Johanna dedicates to the exploration, today of the earth but without defining herself as a ceramist. Exploring the material, moving forward at her own pace and without a plan are all reasons for the existence of Hiromi, Johanna de Clisson's singular factory.



+33 (0)6 12 39 35 97

Homaar is an editor of limited edition artworks in collaboration with artists who mark the contemporary scene.

After having collaborated with Mohamed Bourouissa or Clément Cogitore, Jérémy Planchon founded Homaar with the aim of making accessible works created in permanent dialogue with the artists. Each piece, numbered and signed, can be worn like a piece of clothing, hung on a wall or integrated into the intimacy of everyone.



30 rue d’Enghien
75010 Paris
Karine Arabian : 0607235794
Franck Blais : 0673703667


The creations of JN.Mellor Club have always blossomed at the frontiers of fashion, design and the poetry of everyday life.
JN.Mellor Club pursues the creation of objects in the making, non-fixed objects whose use evolves according to the meetings and exchanges.
For this second participation in Bienvenue Design at the Hotel La louisiane, JN.MC presents a selection of objects in mutation where the hybridization of practices blurs the codes of luxury.
The finest leather rubs shoulders with sandstone, marble or metal to make real interior jewels.

JN.MELLOR CLUB is a brand of luxury objects and accessories, evolving at the frontiers of fashion, at the crossroads of design, art and the poetry of everyday life, driven by the vision of its creative duo: Karine Arabian & Franck Blais.
They are the 2021 winners of the Grand Prix de la Ville de Paris in Fashion/Accessories.


Julie Lansom

Julie Lansom makes lamps with her hands.

Long time photographer and handcrafted decoration designer since 2013, Julie is a versatile artist, who swings between her camera and her design studio.

Based in Paris, she was born in the South of France. Julie keeps an immoderate love for nature, which can be found in her aesthetics. The importance of colours, a passion for material, the authenticity of her designs and a hint of nostalgia are the key elements of her work.

Each of her lamps crystallizes her sensitivity, her sense of form and colour. A summary of her universe.

From the cut out to the assembly and then the weaving, all the lamps are handmade in France.

Each one of them is unique, a piece of art, and the result of a meticulous and passionate work.

The lamps are made of painted wood or metal and high quality French cotton threads.

Julie works on request. You can choose:

- The structure (from a variety of different models)
- The colour of the structure
- The colours of the threads for the weaving

Possibilities are endless and prices depend on the chosen design.

Minimum for wholesale is 3 pieces.
Shipping worldwide.


La Bocca della Verità

Presentation of the Vingt-quatre set of heating objects designed by the duo Marie Piplard and Kelly Eng, young French designers and distributed by It's Great Design. They are presented in the form of a staging (e.g. photo below) and they are sold in a nice packaging. It is the diffusion of a new and original product.

They are heat points to be put on a table (their enamelled stoneware body gets filled with hot water and keeps the heat), hand warmers of one or several. These objects were presented for the first time in spring 2022 at the Bocca della Verità Gallery in Brussels.



Since 1896, Mr. Martin Morel, then his sons, have accompanied and created the fashion trends of the 20th century in the family textile finishing factory in the Lyon region, by imagining collections of
printed fabrics.

Today, under the impetus of Emmanuel Foyatier, the sixth generation of the family, the company's textile archives are being revived with boldness, with the ambition of creating a true graphic and
dreamlike Art of Living. The pattern becomes a bridge between a bygone era and the present.
The journey can begin...



The Manufacture de Couleuvre (Allier), named after the village in the heart of the Bourbonnais region where its porcelain is produced, was founded in 1789 by the Marquis de Lévis, André de Sinéty. The factory is characterized by its unique know-how of relief porcelain and color tinted mass transmitted over the centuries.

The Manufacture de Couleuvre signs exceptional objects, bearers of a refined art of living, combining a secular heritage with a contemporary design.

The Manufacture de Couleuvre is pleased to present a preview of its new collections, exclusive pieces that call upon the greatest craftsmen of art or even re-editions based on emblematic models from the 1930s.

In addition, there is a timeless collection of tableware, tinted in the mass, which underlines the colorist work of the manufacture.


Maison Verrsen

Mobilier d'architecte, Design XXè
Paul Bert/ Serpette
Stand 87 Allée 6
+33 6 81 06 33 51

Maison Verrsen reinterprets Andy Warhol's famous Factory, for the new edition of
Bienvenue Design at the Hotel La Louisiane.
Rendez-vous in room 15.

"In the future, everyone will be world-famous for 15 minutes."
Andy Warhol.


Maxence de Bagneux

Return to the Earth

From native earth to earth of expression, one day the equation will flow from source for the ceramist Maxence de Bagneux. A virtuous circle which obviously questions the creator at the time of the choices. For centuries and still today, the family estate has had an agricultural vocation. Several generations have made it their home base and their history, so why not reinvest in his own way in his plot of land, take the key to the fields and draw energy from the source? Transform the clay in a different way, he who has made it his favorite field. Behind him, there are numerous trips to Asia, India, Berlin, years of research in search of a line, a gesture, know-how, refined by a diploma at the Camondo school. Then came the desire to move on to sculpted volume, supported by training at the Pôle céramique Normandie. The step is almost made and the return to the sources engaged. The passion of the soil imposing itself, he projects here in this vast domain, life-size and monumental pieces. He drops anchor in the family property, a 19th century brick farmhouse, and camps his studio in a building of his own dimensions. The brown soil of Noron, in Normandy, but also the red brick soil that he finds on his land, become material for inspiration. Forms emerge, abstract melodies, which seem to play with the vegetal lines of the park. Shapes with modernist variations, with velvet contours, like this collection of smooth heads made of black or white chamotte sandstone. Mysterious profiles, hemmed in with a deep matte, like an invitation to caress. Where the eye, the mouth, absent on these abstract figures seem to emerge in the material to escape the glance at once. Less introspective, another important sequence in his creative field are the architectural silhouettes of the series of totems. These claim a purely decorative form. Born under the label "mudmud studio", these pieces are assembled and stacked in a construction game combining wood, ceramic and new technologies. Supported by the creation of the mudmud AR-studio application, the participatory project invites you to make and customize the piece of your choice, but above all it allows you to project it in real time in your environment, from your screen. An initiative that reminds us of Maxence de Bagneux's convictions in wanting to open up fields, mix techniques and styles. The same impulse that pushes him to make his countryside, two steps away from Paris, a new space of exploration, where art and agricultural rurality could be combined in beauty.

Text by Caroline Clavier (for Côté Paris magazine)


36 Boulevard de la Bastille, 75012 Paris
+33 (0)6 18 07 79 05 / +33 (0)9 75 49 46 76.

Based in Paris, Paf is an architecture and scenography design studio.
Driven by experimentation, and research in architecture and art, Christopher Dessus, Architect DE, scenographer, curator, and director of the association Pli (Editions and Workshop) creates the workshop in 2017. This allows to challenge the conditions of the practice of architecture, from creation to production. Each project signed by the workshop is measured research between knowledge and know-how, reflections and creation, where the whole of the conception and the production cannot be considered in a dissociated way.




Marché Paul Bert, stand 91, allée 6, 110 rue des Rosiers, 93400 St-Ouen
Valérie Bouvier: 06 63 78 06 93 – Antoine Nouvet : 06 84 97 33 64

REMIX Gallery - 80s French Design Gallery
Eight years ago, Valerie and Antoine, the founders of Remix Gallery, devoted their research to the work of Philippe Starck in the 1980s. A confidential and somewhat forgotten body of work, they have been defending and renewing the vision of the works of this prolific and mythical French designer year after year. Remix Gallery was the first gallery in France to highlight the design of the 80s in a radical way. Philippe Starck, Jean-Michel Wilmotte, and André Putman are some of the most famous French designers they currently exhibit in their gallery. In recent years, they have organized monographic exhibitions on the work of Philippe Starck, Christian Duc, and Claude Dumas. Last winter, they were invited for 2 months to Le Bon Marché.


In 1996, the publishing house Taschen published a book on Philippe Starck's work since his beginnings, like a souvenir album. The cover is a photograph of the designer bare-chested, covered with tattoos drawn with black lines. Half repentant convict, half mischievous kid, Philippe Starck, a tear tattooed in the corner of his eye, proudly displays his productions. For if tattooing is a way to assert oneself, it is above all a story about oneself. A body autobiography through which one tells his story, his loves, his disappointments, his life... In the 80's, Malabar reinvents the decalcomania and will create a generation of kids with tattooed forearms.

For its project in Louisiana, Remix Gallery installs a decalcomania salon - ephemeral tattoos - in one of the hotel's rooms.

Furnished with Philippe Starck's most iconic pieces of this decade, Valerie and Antoine propose to tattoo or rather to transfer these same pieces of furniture on your body. A Polaroid will be taken each time and hung on the wall to make a series of portraits of the tattooed. But be careful, it won't be for life!



Asobi design studio

Tokio at Bienvenue Design for the first time

Tokio is attending Bienvenue Design exhibition in Paris in September 2022. Tokio brand got even more complete last year with two new product lines, and is now ready to exhibit one of them in Paris.
Our piece is Totem table - illuminating sculpture. Also the most technically advanced. Not only is Totem a statement piece by itself, it is a source of beautiful light that is tuneable from 2700 to 4000 Kelvins. Operated via remote controller you can sit in your sofa and decide on the temperature and strength of the light coming from your Totem table lamp.

Tokio will showcase a few pieces to mark new steps and directions of its signature design.

“Tokio. is a contemporary design brand with a focus on technically top-end products for today’s thinking individual with an eye to the future.” - that will always be the goal of the brand that takes no compromises when selecting materials and technology. “Only the best,” says Mr. Malačič, picking up a beautiful source of art – Totem table.

Asobi and Tokio are taking big strides in establishing themselves in the global designer market. After 10 years of successful cooperations with architects and interior designers, this exhibition is yet another steppingstone towards global recognition.


Zoé Rumeau

“A Klee painting named 'Angelus Novus' shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.”
(Walter Benjamin, "Theses on the Philosophy of History")

Zoé Rumeau's porcelain wings are those of a bird that, like Icarus, flew too close to the sun and was burned by it - its feathers blackened by the fire, which attracts, blinds and then rejects, pitiless, all-powerful.
But these wings are also those of an angel, an ambivalent and torn angel, dark and luminous - alternating dark and immaculate feathers -, perhaps the new angel painted by Paul Klee, torn between the past and the future, an earthly angel as much as an aerial one, torn between the earth and the sky, sucked upwards and projected downwards, victim of the magnetic attraction and aspiring to ascend, a dialectic angel, unfinished and precarious - a human angel.
This is why his wings are made of porcelain and not of feathers, heavy, similar to horn or bone, dense, thick materials, a way of telling us that any flight is threatened by hindrance. Where one would expect élan and lightness, Zoé Rumeau introduces constraint, because grace is never acquired, even for birds, even for angels, it is conquered, snatched away, won at the price of battles against the weight of history and destiny.
But this bird, this angel will fly, they will succeed, hovering low to the ground, as if not to lose sight of the earth, its irresistible materiality, they will take off with their heavy wings, because it is always a question of extracting oneself, of pulling oneself up, of fighting against the fall, the assignment, in a difficult and furious movement, in the grip of adversity, with the energy of despair, the fatigue of time.
The fatigue is also that embodied by these bronze hands clinging to a makeshift ladder stuck in the ground, or perhaps planted in the sea. These hands of castaways, vagabonds, desperate people still full of hope, seek to rise in their turn, to know the same elevation as the angel, to escape from it, to escape the gravity, physical as well as political.
These hands spring from an invisible and hostile sea, and then the wings are like waves, these immense and chaotic waves that form the storm, and then the ocean, the earth and the sky merge in the same movement, the angel detaches itself, is uprooted, one hears the rattling of the feathers in the wind, the wings and the hands are finally joined, the world is momentarily saved.

Text by Joy Sorman.