Lucidity of expression and the search for simplicity are the key principles: in the work of Christophe Pillet, elegance is optimized. Pillet’s perfect command of sensuality and refinement has made him one of the rare French designers who have gained global recognition designing hotels, boutiques and directing artistic projects in the USA, Great Britain and Japan. He has won international acclaim for the spectrum and quality of his creations.
Christophe Pillet is a French designer who has won international acclaim for the spectrum and quality of his creations. Architecture, objects, furniture, art direction: his signature is invariably associated with the finest brands and projects of ever-increasing weight and prestige. The scope and the variety of his projects share a common attitude, independent of scale. Whether it be as design director for Lacoste, or in long-term collaborations with Driade, Cappellini, Emu, Porro or Serralunga, his considered interpretations are a testament to high-voltage chic, distinguished both by its precision and rigor. If a “Pillet style” exists, it is in his ability to crystallize, within a project, the excitement of a proposition.
Pillet’s ranges were originally Italian. There were certainly few places as magical as Milan for designers in the 1980s. Business in Italy has never ceased to be a family affair, where major companies remain loyal and the idea of the meeting is still privileged. Having been awarded his diploma from the Domus Academy (master class), he became part of the Memphis Group (as an assistant to Martine Bedin, and Michele De Lucchi), when they led the vanguard of a new approach to design. Upon his return to Paris, Christophe Pillet was involved in the development of the Starck agency, during the period when American hotel interiors and the toothbrush were subject to a major reinvention.
Design welcomes this desire for ubiquity, that of gaining intimacy with a problematic as well as the maximum distance possible, creating the conditions for innovation. This is attested to by the attention that is now devoted to architecture in the agency’s projects, or the emphasis on ‘modest’ projects, in which practical character and economy are privileged exclusively over any other criteria. To movement, encounters and curiosity respond; between dissipation and concentration, fantasy and rigor, they are an inexhaustible source of dynamic richness for projects, as well as their international developments.