"Design is something that spreads out in breadth. Most likely, this is a certain category of movement that can be applied to both the object and the space" (from an interview with Salon-interior magazine)

Passing the gallery

Interview prepared: Natalya Sedyakina

Magazine: N4 (71) 2003

Designer Matali Crasset at the 2003 Paris Furniture Salon (Salon du Meuble de Paris) won the Golden Section award. In an interview with Salon-interior magazine, Matali Crasset tells what design is.SALON: What is design? - I do not really like to give any definition. But in general, I can describe the design as something that spreads in breadth. Most likely, this is a certain category of movement that can be applied to the object and to space.S: What message do you carry with your work? And is this a new message every time or is there some kind of general implication? - Every time is something new. I am not a revolutionary at all, there is nothing sensational in my messages. But I try to make it so that, looking at my work, a person for a moment can distract from the routine, forget about it, how to take a step aside, a step into a different space. its in particular. That is, it is primarily a different view.S: You often mention the word "demarche". What is the purpose of this movement? - This is very personal. My demarche is connected with the words “impatiy,” “sympathy,” generosity, “nobility.” These are all things that I try to “implant” into my work or into the space that I create.S: I would be very interested to talk about your inflatable objects. It seems that lately this is a favorite genre. How was such an idea born? - From the air, obviously. Air is the easiest and most accessible way for us to change the space. Handy tool. I wanted to work on creating a different kind of comfort, which also includes the element of the game, the transformation, since this is also an important component of a good rest. In addition, in this context, the subject becomes multifunctional, and in modern life it is extremely important.S: How old were you when you did your first job? - In general, I realized late that I need to work in the field of design. It was at the age of 23, when I had already graduated from the school of marketing and in principle was a ready-made specialist in this field. And then for me it became a real discovery that I am not on the right path.S: And you were not afraid to start all over again? - Not. It’s generally typical of me to start everything from scratch. Every time, in every new project, I convince myself that I know nothing, have done nothing before. The principle of tabula rasa. It is the realization that I have a lot to discover and that in fact I don’t know anything, and it makes me go forward, make discoveries. In design, it is generally very important. One must always be inquisitive. Design is not so much a profession as an attitude towards life.S: Do you have any favorite works? - I really love the work, which is called "When Jim came to Paris." This is a bed-column. That is, when assembled, it looks like an ordinary column with a small light bulb and a clock, and when disassembled it looks like a floor bed. I made this project to show that the form is not the most important thing for the subject. Well, also as a gift to your friend.S: That is, for you, forms take precedence over content? - Just not. Form subordinate function. And this work is an exception.S: There are two ways to work with designers: the first is when specific tasks are set, and the second is when free will is given. Which one do you prefer? - I prefer the original zadannost. Because in this case I can go over the established parameters and commercial conventions and create something really interesting, thus developing my “personal demarche”.S: I heard you made a design hotel in Nice. - Yes. This is a big project. There I created the concept of life in general. The project is called "We are not at home." The furniture in the rooms is unusual, and the design in general is very extraordinary. Everything is designed to ensure that people are enriched not only communication, but also the environment.S: I know that Philippe Starck’s creative engine is love. He himself constantly repeats this. And what is the fuel for your ideas? - Striving for a new life. Waiting for people to flourish.