Interview with Olivier Felix Isselin

It always starts with a spark. I can't explain it. It can happen anywhere, at any time. The idea is there, evident. After a necessary period of contemplation, comes the moment of bibliographic study. If my idea still seems relevant, I proceed with technical studies and begin the modeling process.

What characterizes me the most is perhaps my affinity for clean, unadorned forms.

Excitement, pleasure, stress, motivation, obsession.

The beginning is probably the most exciting part, when the idea suddenly appears and everything still seems possible. Then comes a much more obsessive phase, when I keep turning the project over in my head, trying to solve every detail.

I also like the moment when something that existed only as an idea finally becomes real. But strangely, once it is finished, I tend to detach myself from it quite quickly. I am usually already thinking about the next project.

As a child, I played a lot with Lego: I enjoyed challenging myself and finding solutions.

My grandfather, an Italian entrepreneur settled in France: I spent a lot of time with him. We would discuss his projects, and I would assist him in creating his plans. His analytical mind and ability to generate new ideas inspired me. And, like him, I enjoy looking ahead.

Directing art galleries was also a formative experience for me: I sharpened my eye and learned a great deal from the artists I represented and the people I encountered during that period.

Although my path has been ultimately coherent, it has unfolded in waves. I become passionate about each project, dedicate a great deal of time to it, and once it is completed, I need to move on to another one. It is still the creation and the challenge that drive me forward.

What has changed is that I now understand my practice much better. I used to move quite naturally from one field to another. Today I know that this is actually the way I work. I do not really see boundaries between designing an object, an exhibition, an audiovisual project, a building programme or an urban project. They are different scales of the same work.

This is one of the reasons I created my design lab: to give a structure to this way of working, while remaining free to bring together different disciplines depending on the project.

I am currently particularly interested in larger and more complex projects, including the built environment. But I still do not want to define a career by one particular type of project. If a subject interests me and I feel I can bring something to it, I am interested.

And I will always continue developing personal projects alongside commissioned work. The two are not mutually exclusive.

My dream project has not really changed. Everything I have done so far is part of me, but I still have not created my own place: somewhere entirely conceived by me, where architecture, art, design and landscape come together in a natural environment.

My own Villa Adriana.

At over 40 years old, I still consider myself a promising young creator! But on a more serious note, here are some classic pieces of advice that are always worth mentioning: Be curious about everything - Learn to appreciate the things in life while maintaining a critical eye - Don't give in to ease or take shortcuts - Don't hold back or shy away from hard work - Lastly, focus more on your output than on yourself.

I believe the most important thing is to stay true to your own convictions.

Of course, on a real project, you have to discuss, adapt and sometimes compromise. That is part of the work. But you also have to know what can be negotiated and what cannot. If you compromise on the idea itself, or on what gives the project its coherence, you usually lose something essential. I still think a certain degree of radicality is necessary to develop and preserve your own language. And you have to be honest with yourself. Even if you need the work, sometimes the right decision is simply to decline a project if it does not resonate with you, or if you know you will not be able to do it properly.

For many years, I worked mostly alone. It required a certain discipline, although I never really had fixed working hours. The project itself usually dictates my schedule. If I am finalising something, I can still isolate myself and work on it day and night. I never really learned how to do things halfway.

But this has changed quite a lot in recent years.

Working with Maxime Golay on ICONIC DESIGN[S], with whom I share this latest A’ Design Award, taught me something quite simple: I actually enjoyed not working alone. We have very different ways of thinking and working, and I discovered that this difference could make a project better.

It also changed the way I organise my work. Today, my days are divided between designing, writing, meetings, discussions with clients, coordinating different people and making decisions. I still need periods when I can work completely alone, especially at the beginning of a project, but I no longer see collaboration as something that comes afterwards.

This evolution is also one of the reasons I created my design lab. It allows me to bring together the right people around a project and to work on things that are much larger and more complex than what I could reasonably do alone.

The rhythm is therefore more structured today, but the basic rule has not really changed: when a project becomes important to me, it tends to occupy almost all my attention.

I try to avoid following trends. Nowadays, everything moves too fast, and the public doesn't have time to "absorb" them before moving on. The disposable culture is not for me. Moreover, our society will eventually have to question itself because the future lies in sustainability. Our planet cannot endlessly endure our missteps.

For me, design is primarily about the relationship with space. Good design is an object that appears obvious, yet different, and while it represents a particular era, it retains its modernity. Personally, I prioritize the pursuit of simplicity and purification. In this sense, I am a disciple of Mies van der Rohe: "Less is more." The visit to his Pavilion created in Barcelona in 1929 for the international exhibition left a deep impression on me. Everything is there!

It's not me who decides; it's the deadline imposed on me or the one I set for myself. It has always been a challenge for me because I struggle to stop. It becomes an obsession, as I believe there is always room to enhance the outcome, to refine it further. Fortunately, these deadlines push me to conclude. In retrospect, maybe it's because once a project is completed, it no longer belongs to me... It's akin to the feeling parents might have when their children leave the family nest: there is the happiness of seeing them take flight, but also a sense of heartache and letting go.

I still find it very difficult to rank my projects. In fact, I do not really like doing it. Each one corresponds to a particular moment, a challenge, an idea, and they are all important to me for different reasons.

Bacchanalia remains very special because it was an artistic project created almost instinctively, in an extraordinary place, an old shipyard transformed into a contemporary art space overlooking the sea. The location, the light and the scale of the installation all came together in a way that gave me a great deal of pleasure.

But today I am also working on projects of a completely different scale.

One of them is the Cité du Cristal in Bayel, a major cultural project dedicated to glass and crystal, for which I am responsible for the conception, scenography and museography. It is exciting because it brings together many things I care about: space, objects, history, transmission and the visitor experience.

I am also currently involved in the conception of a much larger project combining cultural, hospitality, leisure and urban components. I cannot say much about it yet, but it is probably the most complex project I have worked on so far. My role is not to design the architecture itself, but to define the overall concept, the programme, the relationships between the different parts and the coherence of the whole.

So I would not say that I have one “biggest” project. The scale has changed, certainly, but my relationship to the work has not. The project in front of me is always the most important one.

Undoubtedly, the architect who evokes the most emotion in me is Tadao Ando. The simplicity of lines, the play of light, the use of raw concrete, his relationship with nature... Everything moves me in his constructions.

Furthermore, I am very much in tune with the modernists and the freedom that characterized them. Like the artists of the Quattrocento, they completely disrupted existing codes. Artists such as those from the Bauhaus movement and its director Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Oscar Niemeyer, and many others.

Lastly, I have a great affinity for the furniture of the "Space Age" movement from the post-war period, including designers like Eero Saarinen, Verner Panton, the Castiglioni brothers, Eero Aarnio, and more. It's an era I didn't experience firsthand, so I likely idealize it, but I imagine it as a joyous time where anything seemed possible. That's the perception I gather from their creations.

If I had the chance to speak with just one deceased designer, who would I choose? The list is quite long, but I would probably choose Le Corbusier. He was not only an architect, urban planner, designer, painter, and sculptor but also a great theorist, whose influence on architecture and design is immense. I would have loved to learn from him and engage in debates.

Undeniably, my life experiences have a significant influence on my design projects. A person's culture inevitably shapes their aesthetic vision and preferences.

According to my friends, I'm perpetually 17 years old and will probably go bad before ripening! This mindset is undoubtedly a strength in my life as it fuels my insatiable curiosity and thirst for discovery. It's a driving force that guides my choices and actions, both in my personal life and in my design practice.

I've been fortunate to always live in beautiful places, from Paris to Dijon, the Alps to the French Riviera, passing through Langres. I'm deeply immersed in these environments, and they have greatly contributed to shaping me. My relationship with aesthetics has always been essential. I believe in the utility of beauty. Beauty is the added value of a place or an object. Beauty makes us feel good.

Music also plays a vital role in my life. It evokes profound emotions within me and surely plays a central role in my creative process. I attach great importance to its role in my daily life. It accompanies my moments of reflection and relaxation. For me, music is never just background noise. Artists like David Bowie, the Velvet Underground, Iggy Pop and the Stooges, Bob Dylan, Magma, Sonic Youth, Joy Division, and many others resurface tirelessly.

And whenever I can, I escape to explore museums and exhibitions and visit places I love. Whenever possible, I try to travel, not necessarily far or for long periods of time. Italy remains my favorite destination. I am in love with this country. Whether wandering through the landscapes of Tuscany, savoring a Spritz in front of the Colosseum, strolling among the fountains of Villa d'Este, or standing above the Bay of Naples, gazing at Mount Vesuvius, whether enjoying a simple pizza or taking a break at the spiaggia dell'Olivetta in Portofino, or discovering enchanting villages like Barga, getting lost in the alleyways of Venice, or revisiting Lake Como, I feel at home. Naturally.

All of this inevitably finds its way into my work. I don't really separate the way I live, the things I love and the way I design.

I no longer work alone. I still need a lot of independence, especially at the beginning of a project, but I have learned to enjoy working with other people.

Depending on the project, I work with different partners and specialists. I choose people quite instinctively. Of course, competence matters, but trust and loyalty are just as important to me. I prefer building long-term relationships rather than changing teams all the time.

Working with Maxime Golay is a good example. We are quite different, both in personality and in the way we work, and I think this difference is useful. We do not always see things in the same way, and that is precisely what makes the collaboration interesting.

I also like working with people who are curious, demanding and able to disagree with me. I don't need people who always say yes. I need people who care about the project.

For me, the important thing is that everyone understands what we are trying to do. After that, each person has to bring what they do best.

Trust and loyalty remain essential to me.

I still feel deeply involved in urban planning. I believe that poor urban development can have very direct social and environmental consequences, so I try, whenever I can, not only to criticise what seems wrong to me, but also to propose alternatives.

But over the years, transmission has also become increasingly important to me.

I take part in conferences and professional events, and I have also served on design juries. I enjoy these moments because they allow ideas and experiences to be shared, especially with younger designers.

This is also one of the reasons we created ICONIC DESIGN[S] with Maxime Golay. The project is not only about showing beautiful objects. It is about explaining why they matter, what intelligence lies behind them, and making design culture accessible to a wider audience.

The same applies to the cultural and museum projects I work on. I like the idea that design can help people understand something better, whether it is an object, a place, a history or a particular know-how.

I do not think of this as philanthropy in the strict sense. I simply think that, when you have acquired some experience, part of the job is also to transmit it.

This is my second A’ Design Award, after the one I received for Space Oddity, so the feeling is a little different this time.

What makes this award particularly special is that I have the pleasure of sharing it with Maxime Golay for ICONIC DESIGN[S]. It is a project we developed together, so receiving this recognition together obviously means a great deal to me.

It is also interesting because the two awards belong to very different categories. Space Oddity was a spatial design project, while ICONIC DESIGN[S] is an audiovisual project. In a way, this second award confirms something I have gradually understood about my own work: I do not really belong to one particular field of design.

I still think awards are useful for three reasons. First, they give external recognition to a project. Second, they force you to look at your own work differently. Preparing a submission means stopping for a moment, analysing what you have done and explaining why you did it. I find this kind of introspection very constructive.

And finally, awards create visibility and new connections. They allow projects to travel further than they might have done otherwise and sometimes lead to unexpected opportunities.

Being selected as Designer of the Day is also a pleasure, of course. More than anything, I see it as another opportunity to present my work, my ideas and, this time, a project that I am very happy to share with Maxime.

It quickly became evident to me. If life is filled with constraints, mine is the freedom I granted myself.

I am a curious man, so I don't close any doors.

For a designer, as well as an architect, education is, in my opinion, secondary. In fact, almost all the architects who have made an impact on me are not graduates of architecture schools. Tadao Ando is not an architecture graduate. The same goes for Mies Van der Rohe, Le Corbusier, Frank Lloyd Wright, and Oskar Niemeyer... The list goes on...
It primarily depends on sensitivity, or more precisely, sensitivities... The essential thing is to maintain a childlike spirit, to always have a keen eye and to be able to draw inspiration from everything around us. Then comes the work.
Finally, one should focus more on their production than on themselves.

A good designer is someone who achieves success during their productive period. A great designer is someone whose creations become the markers of their era and/or endure throughout time.

A design that pleases is a good design. A great design creates an object that appears obvious yet different, and while being a marker of an era, it retains its modernity.

For an entrepreneur, a good design is an added value to their product. For a buyer, pleasure should prevail.

I am curious and therefore very open to the question. Any proposition can potentially interest me.

Everything I have done so far is a part of me, but due to lack of time and resources, I haven't been able to create my own haven: a place that I would have completely imagined, where architecture, art, and design would blend together... All within a natural setting: My Villa Adriana.

I try to be true to my choices.

Undoubtedly, the architect who evokes the most emotion in me is Tadao Ando. The simplicity of the lines, the play of light, the use of raw concrete, his connection to nature... Everything moves me in Tadao Ando's constructions...
Then, I have a strong attraction to the modernists who completely disrupted conventions: Mies Van der Rohe, whose motto was "Less is more," which is also one of my principles... There's also Le Corbusier and his Modulor, of course, as well as the designers of the Bauhaus, like Gerrit Rietveld.
Finally, the creators of the post-war boom period, such as Eero Saarinen, Verner Panton, Eero Aarnio... They symbolize an era I didn't experience, so perhaps I idealize it: a positive era, open to the future, where everything seemed possible.

The pantheon of my favorite designs is quite cliché, but these objects didn't become iconic by chance—they are brilliant!
Verner Panton's Panton Chair
Ray & Charles Eames' Lounge Chair
The Gyrofocus fireplace created by Dominique Imbert
Noguchi's coffee table
Charlotte Perriand & Le Corbusier's LC4 chaise longue
Eero Saarinen's Tulip table
The Castiglioni brothers' Arco lamp

And more recently, Pablo Reinoso's Spaghetti Benches.

Finally, I'm not immune to the charm of a beautiful convertible or a fine Louis XV chest of drawers...

My greatest project... It's always the next one... As for considering one of my creations as brilliant... I am the least qualified to make such a judgment.

In my opinion, a good designer is someone who can break free from trends and impose their own vision.

Perhaps I would have liked to make documentaries or films. But maybe I'll come to that one day, who knows...

Design, for me, is primarily a relationship with space. A good design creates an object that appears obvious yet different and while being a marker of an era, retains its modernity.

Undoubtedly, my parents, who, even though they were not always in sync with my life choices, never imposed theirs on me (maybe because they knew it was impossible!). I owe them the taste for effort and perhaps this independent character.

My life journey.

Being independent and living in an isolated area complicates things considerably: Living in Agay (French Riviera) brings me immense joy—the climate, the light, and the beauty of the place are very conducive to my creativity. However, I am a bit far from everything.

I'm working on several projects simultaneously, both as an artist and a designer... I don't yet know which one will emerge first.

My only wish is for the success of my creations.

They expect me to stay true to myself.

Beauty is the added value of an object, a place... Beauty makes us feel good.

One project that comes to mind is perhaps one of my installations: "Bachanales." I created this piece in a magical location—an contemporary art space overlooking the sea. I was there because I was the curator of the ongoing exhibition, and in this space that I had initially decided not to occupy, given the low attendance (which is often the case for exhibitions in provincial areas), I realized this installation that I had a clear idea about for some time. The result, the location, the sea, the light... All of it brought me great joy.
This artistic project could be adapted into a fountain and would fit perfectly in a city or within a vineyard estate. I hope to be able to realize this project.

One thing we can be reasonably certain of is that, in the face of environmental disasters, design will be more responsible, both in the choice of materials used and in the manufacturing process. Objects will be more sustainable. Let's hope so, at least!

For the idea, I'm in the moment, in the instant. Then, every project requires a period of reflection. The idea matures. The finalization takes a few months. It all depends on the complexity of the project.

I study what has already been proposed on the subject. Then, I establish a critical report. Finally, I bring my own technical and artistic solutions to the deficiencies I have observed.

I don't dream my life, but I live my dreams.

It would be desirable for design to define the trend and not the other way around!

Technology is often essential in the design process, but it should never take over: we must not lose sight of the fact that it is merely a tool and it should remain as such.

Color, it's the first word I learned to say! In design, color expresses the sensitivity of the object.

I would just like them not to have any questions, for it to seem obvious to them.

Pleasure and emotion.

Regardless of the field, if there's a team, there needs to be a project leader. As for me, in pure design, I find it a bit difficult to imagine co-design. I don't know, it would be worth trying... However, working with a team, as I have done in my artistic directions or event project management, is always very motivating.

My close circle, those I love. They will recognize themselves. They are my first judges. Then I take their remarks into account, or not! In the end, it's me who decides, but having an initial evaluation of my creations is necessary for me.

Perhaps "Lives of the Most Excellent Painters, Sculptors, and Architects" by Giorgio Vasari (16th century). The author discusses architecture, sculpture, and painting in the context of the Italian Renaissance, associating them with the lives of his genius artists who often excelled in multiple domains.
Much more anecdotal but not without influence: "The Three Little Pigs," which, from a very young age, instilled in me the idea that every construction should be of quality and durable.

I believe that it is primarily my open-mindedness and curiosity that have allowed me to progress. My encounters, the cities where I have lived, frequenting art venues, my travels, architecture, and my love for nature, etc. ... I try to nourish myself with everything around me. I also associate it with my critical sense, whether positive or negative.

There are so many.
The first that come to mind are undoubtedly Diderot and Voltaire. Their ideas, their freedom, their optimism, their taste for progress, the emphasis on all-encompassing knowledge... These men have contributed so much to the development of thought...
In a different vein, I would have loved to meet Andy Warhol in his Factory with the Velvet Underground... The vibrant sphere of creativity in the New York underground scene of that time has always fascinated me.
Finally, because there are too many people to mention, I would end with my paternal grandfather, whom I did not know: he died in a car accident one year before my birth. But I would have certainly liked this man a lot.

My goal is not to be famous. The goal is for my creations to be famous. The fame of the creator is just a tool that helps achieve that.

What is your favorite color, place, food, season, object, and brand?
•My favorite color: Black.
•My favorite place: It's impossible for me to mention just one:
I am a lover of Italy: Whether it's sipping a Spritz in front of the Colosseum in Rome, strolling through the gardens of Villa d'Este, enjoying a pizza overlooking the Bay of Naples with a view of Mount Vesuvius, bathing at Spiaggia dell'Olivetta in Portofino, discovering a village like Barga, getting lost in the streets of Venice, or taking a walk around Lake Como, I am in my favorite place.
Furthermore, I have always had a deep connection to the places I have lived: in the city center of Dijon with the Palais des Ducs de Bourgogne and its mansions; in Paris, with its galleries, Île Saint Louis, Centre Pompidou, Sainte Chapelle, cafes, and clubs; in Langres; in Agay, the Esterel, and my rock overlooking the Mediterranean Sea... Once again, I am in my favorite place.
•My favorite food: Mediterranean cuisine.
•My favorite season: Summer.
•My favorite object: My old Hasselblad 500.
•My favorite brand: Caterham. The brand that resumed the production of the Lotus Seven, the work of Colin Chapman, which I must mention: "Less is more."

Every phase of creation is exciting. When I'm in the design phase, I'm filled with enthusiasm, and my days can be very long without me even realizing it.

Nothing is ever guaranteed. The current period may be anxiety-inducing, but being naturally optimistic, I have confidence in the future.

I may not always be understood, but I always strive to do my best...

As an independent, I manage my own design studio. I am responsible for all stages of the design process, from idea generation to final realization.

Design, for me, is primarily defined by its relationship to space.

While being an artist involves having an intense and personal perception of one's environment and expressing it freely through various mediums, with art being the result of this process, design distinguishes itself in the sense that it is not solely focused on its creator, but rather it primarily addresses the user and is thus closely linked to functionality. Technique, materials, and ergonomics are among the elements to consider during the creation process. Design represents the response to a problem.

However, this doesn't mean that the designer is not also an artist. In addition to solving problems, creativity remains essential and imparts personality to the created object.

I always enjoy the ones I'm currently working on: each project I undertake is a new challenge, so it's always very motivating. Lately, I've been quite occupied with spas. Just by walking through the aisles of specialized trade shows, one can realize that there is a lot to be done! It's quite surprising that in the wellness industry, aesthetics is not really given much importance, even though aesthetics is an essential component of well-being.

During the finalization phase of a project, if another idea comes to mind, I take notes, scribble a bit, just to make sure I don't forget it... Because during this phase, I make an effort not to get distracted. The ongoing work requires all of my attention.

Excitement, stress, motivation, obsession.

They no longer belong to me. I no longer have control. I quickly need to move on to something else.

It depends on what we define as success. On one hand, there's design that draws inspiration from trends and arrives at the right moment, neither too early nor too late. Such a product, in tune with its time, stands a good chance of achieving commercial success. On the other hand, there's exceptional design that is not necessarily expected, transcending the notion of fashion. It becomes timeless and remains modern even after years have passed.

My entire sensibility revolves around a certain form of aestheticism. It's very personal and highly variable. While I'm naturally drawn to minimalist designs, which aligns with my own work, I can also appreciate more unconventional designs that I would never be able to imagine myself! For example, I'm in love with the Centre Pompidou in Paris by Richard Rodgers and Renzo Piano... I can also mention the Guggenheim Museum in Bilbao designed by Frank Gehry—it was a true shock when I discovered that place.
It all depends on the context. And precisely, what I dislike is anything that is out of context. To be clearer, I can mention Frank Gehry again and the LUMA: This structure in that location bothers me considerably. It doesn't make sense! The prevailing horizontality of the city and especially in the Camargue region is no longer there! There surely must have been another way to stand out. The landscape is completely disrupted as a result.

The designer's relationship with society and the environment is becoming increasingly significant. One thing we can be certain of is that, in the face of the environmental disaster, design will become more responsible, both in the choice of materials used and in the manufacturing process. Objects will be more durable. Let's hope so!

We just mentioned the future of design: it will be environmentally conscious. Now, whether we produce less and better? I'm not sure, but we will get there. We will be compelled to do so!

My last exhibition was last summer. I was invited to participate in a contemporary art festival in Var, French Riviera. I presented one of my photography series there.
As for my next exhibition, I'm not sure yet... I have a few leads, but I have nothing to announce at the moment.

My inspiration comes from my life experiences. Anything has the potential to inspire me. I believe I always have an observant eye. Then, I jot down or scribble in my notebooks... Every idea is a synthesis.

I simply try to be myself and not deny who I am. I think that's the only way to have one's own style.

I live in Agay, a little corner of paradise on the French Riviera, located between Cannes and Saint Tropez: nature, light, and the sea... It's very inspiring! In fact, the places where I live have always been very important to me and, therefore, to my work. Living in France is a blessing because, in addition to an immense cultural heritage, the landscapes are very diverse within relatively short distances. I have lived in Langres, Dijon (Burgundy), Paris, and even in the mountains (Les Arcs – Savoie). All of these places are magical and have witnessed my growth. What surrounds us, and more broadly, our life, is our own reference. We either appreciate or reject it, and that's what nourishes our creativity.

As for the advantages and disadvantages of living in one's own country: It's essential to travel to learn... I have traveled and stayed in many countries for varying lengths of time, but I have never lived anywhere other than France—until now! So, I'm not really in a position to evaluate that. For me, what matters is being free and feeling good wherever you are.

I consider the companies I work with as my partners. First and foremost, there needs to be a good connection, a feeling of mutual understanding. I always aim for long-term collaboration based on exchange, loyalty, and trust.

Be careful not to interfere too much during the design process! Designers are wild creatures. If they have chosen this profession, it's usually not for the sake of convenience, but because they are fundamentally attached to their freedom. Therefore, it is crucial for the entrepreneur to develop an extremely precise design brief regarding their requirements. This will help avoid any disappointments. If the client already has a clear idea in mind, it would be better to hire an executor rather than a creator.
As for how companies can select the right designer, it simply comes down to a matter of feeling. It's a meeting of two entities. If there's a connection and mutual understanding, it could be the beginning of an idyllic partnership, leading to great success in the future.

1: A crystal ashtray (Royal Cristallerie de Champagne - Bayel). This crystal block is perfect. I think I've always seen it. It's part of my family history, and we all have one.

2: The Panton chair: iconic!

3: My collection of Illy cups, where a brand has managed to develop unique collaborations with great artists around an object, their coffee cup designed by Matteo Thun, whose design is immediately recognizable. The result is very interesting.

4: My desk lamp: Tizio model (Richard Sapper - ed. Artemide).

5: The Mini Chair by Rietveld (from the miniature collection of the Vitra Design Museum).

At over 40 years old, I still consider myself a promising young creator! Friends often tell me that I still have the spirit of a 17-year-old...
But on a more serious note, here are some classic but always valuable reminders: Always keep your eyes open, don't take the easy way out, don't hold back, and focus more on your work than on yourself.

Being able to reconcile life, work, and passion is to grant oneself freedom, and that freedom is essential to me. At the same time, choosing to be an artist or a designer is a lifelong commitment. It never stops.

I remain a disciple of Mies Van der Rohe: "Less is right."

Cultural knowledge, open-mindedness, and inventiveness.

I rely on a variety of tools for my creative process: books, magazines, my notebooks, notes, photographs, objects, my computer... All of these contribute to my creative process.

Indeed, while the initial idea may not require much effort, certain stages of the design process demand a lot of concentration and work. It's these stages that dictate my schedule. I never hold back or count the hours spent, so during certain periods, I can dedicate entire days and nights to it. It's quite exhilarating in the end. I enjoy it.

It varies greatly. An idea may seem simple or even simplistic, but its design process can take a significant amount of time. It depends on the technicality involved. The time spent does not determine the value of the object.

I am often approached without people realizing that being a designer is a full-fledged profession, and even sharing an idea or advice requires work.

I don't rank them in terms of importance. The most significant project for me is always the one I'm currently working on.

I'm curious about everything. Each new design is a new challenge, a new adventure.

Currently, I'm working on several projects simultaneously, both in terms of pure art and object design. I'm not sure which one will emerge first.

I work alone and rely on my partners when I need technical answers.

They can reach me via email at felix.isselin@gmail.com, by phone at +33 (0)6 51 50 33 85, or by mail at 10, avenue des Mimosas – Domaine Les Roches Rouges - 83530 AGAY – France.

I would just like to mention that I am currently looking for international distributors for my spas.