Inspiration through material
Jordane Arrivetz • © Daniëlle Siobhán
Jordane Arrivetz has always been immersed in the world of design. As a child, she would wander around her grandfather’s store, the first French boutique located in Lyon selling pieces of furniture by Knoll and Eames. This influence blossomed in her, until it took shape in her current work steeped in the codes and aesthetics of the 50s to 80s that she develops today in her interior design firm, set up almost 8 years ago. But let’s go back a few years. About 15 years ago, Jordane Arrivetz graduated from the Camondo school before working for several high-end agencies, finally leading her to join the artistic direction of the Costes group’s design office. “I had the chance to work alongside Jean-Louis Costes. He contributed a unique and innovative vision in both the operational and creative fields. I learned a lot from him, including the importance of understanding how things are made, the process behind beauty, but also the need to always create an experience in the world of hospitality.” In 2015, the designer left the group to set up her own agency, drawing on her extensive experience and knowledge. She soon took the decision to specialise in hospitality. The intention was based largely on the large number of hotel projects involving a mix of restaurants, spas, common areas and private spaces. “A comprehensive project,” she says. Since the creation of her agency, the number of projects has grown from pocket coffee shops to hotels with 200 rooms. But one construction site changed everything and propelled the studio into a new dimension: Bonnie at SO/Paris. “We were given carte blanche for this creation. The agency was still very young, and we wanted to stand out from the competition with a project that brought together some big names in architecture and design, as well as Olafur Eliasson. We had to differentiate ourselves in order to survive. Our work paid off, everyone was talking about the restaurant, club and bar that we had created.”
Over the course of its development, Jordane Arrivetz’s creative studio has built up its core strengths, starting with an approach that is initially intended to be architectural. The first questions on arrival at a new construction site are then restated, i.e. how can the existing architectural elements be enhanced? How do people move about? How does the light get inside? What are the strengths and weaknesses of the structure? “I use this method because when things are done well from an architectural point of view, it stays that way. If the place is resold and redecorated, these are the elements that endure and that will still be there in 100 years.” At this initial stage, Jordane and her team prefer age-old materials that can stand the test of time, acquire a patina and age with the surroundings. Consequently, plaster, wood and stone form the staples of their material library. This is subsequently enhanced during the second phase of the project, i.e. the decoration. For the designer, this stage is like telling a story, a tale that reveals itself through the choice of materials, colours and patterns. A story that is also found in the furniture, which is custom-designed for each project, and completed by vintage items that have their own story to tell. “I take a very sensitive approach to the subject. I pay attention to their role in reflecting light, to their texture and to their smell. Their selection must contribute to the story of the location and to the creation of an experience. I like working with a small library of materials, using materials that were used often in the 1960s to 1990s, such as leather and metal. Much more than the simple creation of a hotel or a restaurant, they help to develop a real experience for the customer.
For Jordane Arrivetz, the starting point is in the building, its structure and its shell, without question. This architectural approach to her projects also emphasises the unique character of each location and architectural design. Consequently, for the Belleville hotel in Burgundy, it is the wooden beams of the château that are highlighted, while the Chalet de Pierres in Courchevel immerses the visitor in an alpine world, and this is in radical contrast to the sunny character of the Majestic Cannes, which is currently being finalised. “This is consistent with the approach of highlighting the shell. It is important for a project to find its identity and unique character, which is linked to its location. When asked about creating an identity that the agency can call its own, Jordane tells us that this is still malleable and in the process of being created because of this desire to adapt to the location and to the existing architecture. “The agency is still young, but the style we promote is clearly influenced by my tastes. We are gradually finding our distinctive quality, if you will, but our goal is not for our work to be immediately recognised as ours, at first glance. The aim is not to get people to talk about us, but to tell a story that is specific to each unique project and which invites you to enjoy an unforgettable experience. •
