Fostering dialogues of design between India and France

CHENNAI: Formative years of growing up between the diverse regions of Provence and Tamil Nadu, these are blurry borders for Victoire de Brantes. Now a multidisciplinary French designer, Victoire was in Chennai recently, as part of Villa Swagatam, a network of local partners across two countries, which aims to strengthen the dialogue between France and India in the fields of literature, performing arts, and craft.

On the occasion of her residency with Vastrakala, an embroidery studio started in 1993 by French entrepreneur Jean-François Lesage, she has redefined the role of ornamentation by blending heritage with innovative materials.

Here, she narrates her journey into the realm of design, and how the heritage of India has shaped her understanding of the country at large, which she has brought out in her exquisitely crafted pieces of art.

Q.Could you tell us a little about your journey into the field of design?

A.After completing my preparatory studies at Ateliers de Sèvres in Paris, I pursued my education at Design Academy Eindhoven (DAE) in the Netherlands, focusing on material research and development that culminated in product design. At DAE, my curriculum emphasised the exploration of contextual factors such as material and colour, informing the shape and aesthetic of our products through a reverse design process. This approach encourages a deeper understanding of how our behavior interacts with the products we create. During an exchange program at UAL University's Chelsea College, I further specialised in pattern textile design.

Q.In what ways did your time living and studying in India, and working in Paris, shape your approach to design and perspective on cross-cultural collaboration?

A.I spent my childhood until the age of 11, split between south India and the south of France. Subsequently, my teenage years were in Florence, Italy, followed by high school in Paris. Through my academic pursuits, I resided in the Netherlands for five years before returning to Paris, which now serves as the base for my current practice and travel.

As I grew up, I began to appreciate the distinctiveness of each place, realising that talking about a whole country is too broad. Instead, I approach places by their regions, a perspective I developed from observing the varied landscapes, traditions, crafts, and histories within each.

This regional focus deeply influences my design process. I emphasise context and territory, fostering collaborative relationships with local craftsmen and industries. By anchoring my practice in the specifics of each region, I aim to capture and reflect their unique characteristics in my work

Q.What is your take on Indian cultural heritage and craftsmanship?

A.Focusing on the craft of embroidery in Villa Swagatam residency, I was fascinated by the creativity involved in each step of the process. There's a sense of improvisation, adaptation, and utilisation of available alternatives in the environment. However, what struck me the most was the consistency of the embroiderers' movements—their steady rhythm, even in times of stress, almost resembling a form of meditation that gives birth to meticulous and delicate designs. Additionally, I was captivated by the manipulation of materials, the combination of textures and colors to mimic reality, bringing to life flowers, characters, forests, and more. As a creative, my perspective was broadened by the abundance of local resources in materials and primary sources, fostering a genuine dialogue between the artisan and their context.

Q.Could you tell us more about your experience as a multidisciplinary designer, and how it led you to participate in the Villa Swagatam residency?

A.As a multidisciplinary designer, Villa Swagatam provided me with the opportunity to explore various fascinations of mine, allowing me to dedicate time and space to material development and immerse myself in a craft. In my case, I delved into Vastrakala, an embroidery workshop bridging India and France. I integrated and connected different departments, such as fashion, tailoring, and embroidery, to create fused interior products.

Moreover, the residency afforded me the invaluable chance to collaborate closely with the embroiderers at Vastrakala. This hands-on experience enabled me to understand their techniques and expertise in a profound way that wouldn't have been possible as a young freelance designer.

Q. What were your learnings through this amalgam experience?

A.My takeaway from this blended experience is that in design, the focus isn't on reinventing the wheel, but rather on reinterpreting existing concepts. This was precisely my approach, where we encouraged the embroiderers to see familiar materials in new approaches and lights.

We have created two concrete examples of this innovative process: a chair seamlessly integrated into a carpet, utilising various archives in an organic interpretation, and modular panels capable of forming various compositions tailored to a space, incorporating elements from both fashion and interior design to create curtains, rooms dividers, screens. We transformed traditional fashion accessories like cufflinks and oversized buttons into unique curtain embellishments, seamlessly integrating elements from various workshops at Vastrakala.

To achieve this, I applied molding techniques typically used for intricate floral designs to create these unconventional buttons. Additionally, our collaboration with embroiderers involved a refreshing reinterpretation of traditional embroidery techniques. Rather than sticking to conventional patterns, we experimented with different stitches, allowing them to flow freely and form dynamic compositions. This approach not only showcased the adaptability of the artisans but also emphasized the potential for collaboration and the exchange of ideas across different design disciplines.

Q.How different is the French art and design industry from that of India's?

A.The difference lies in the metals used, influenced by the geographic and climatic contexts of each country. What is interesting to observe are the varying influences stemming from each one's history. I have been able to identify these two criteria through the artists and designers I met there, who inspire me greatly. I hope to return to India soon to explore further!

Q.Looking ahead, what are your future aspirations or projects in the realm of design which you have learned through this cultural exchange?

A.My upcoming inspirations following this residency in Vastrakala include delving deeper into my identity and fully embracing my collaborative universe with various artisans. I hope to return to India to develop other products or collections by blending different crafts. I also greatly enjoyed the daily exchange with other creators and aspire to collaborate on projects with other Indian designers. Furthermore, I aim to deepen the connection within me between the south of France, where my family’s origin lies, and the south of India. I aspire to create rich, narrative-driven, playful, and tactile worlds.