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Stories

Constance Guisset

Words Alessandra Albarello

22/06/2026

The French designer discusses her philosophy of design woven from poetry, lightness and savoir-faire. With a bit of surprise...

The iconic Vertigo lamp has a diameter of 190 cm and weighs only 500 gr. Evanescence, lightness, poetry, empathy but also solidity and function. Could it represent the manifesto of your design?
That suits me very well! I hope it could be my manifesto. With also a bit of surprise, of humour. And a hint to movement. From the small, comfortable Stratus Surprisus room at Villa Medici in Rome to the The?a?tre des Champs-E?lyse?es, from INHA to Morel glasses.

What single vision did you start from to modulate such different spaces and surfaces?
No matter the project, the focus is always the same: to design a project welcoming to the body, opening the imagination, and to respect where it takes place, whether it is a brand or a building. I am curious about everything, I love to learn about new sectors, know-how, specialities. It is very exciting to design for a variety of contexts and projects.

You were Programme Director and Artistic Leader of the Skills Academy of the Fondation d’Entreprise Hermes in 2025, dedicated to paper. What can you say about this experience and how important is ‘savoir-faire’ today?
It was an amazing experience; I learnt a lot from it. I like to design with paper, like my Angelin for instance. But I am not an expert. This one-year experience with different specialists of paper (designers, engineers, artists, manufacturers) was fascinating. “Savoir-faire” (or know-how) is essential, transmission is key. We need amazing craftsmen to realize crazy and beautiful projects. Some things are only possible through the hands instead of the machine.

What materials, colours and shapes do you prefer and do you have any design and architecture masters as a reference?
It is a joke at my studio: I like everything round and I love yellow, especially neon yellow. I also really enjoy asymmetry to bring movement  and liveliness. The work of Bruno Munari is very important to me. I am impressed by his tremendous curiosity and virtuosity, from designing a lamp to a children’s book.

Which projects did you show in Salone del Mobile 2026 in Milan and what are the emerging trends/themes in design?
I presented a special project with a great master from Florence, Marco Castorina. If you want to see amazing know-how, just go visit Castorina’s! It is a part of the Doppia Firma project, which united one designer and one craftsman. We conceived some mysterious shapes, with a sculpted pattern. The project looks like a mythical creature and is called Chimera. Regarding trends and themes, we have seen recently a lot of limited editions, an interest for the collectible. It is of course a huge playground for a designer, with great possibilities, but I am still an industrial designer at heart. I cannot wait to see how we can go further in this sector, while dealing with our contemporary challenges.

You are always portrayed with glasses. What’s your personal approach to this accessory and why did you get inspired by calligraphy for the Morel collection?
I always wear glasses... because I cannot see without them. I have worn glasses for as long as I can remember. For this reason, it has also become a part of my identity, I feel naked without them. So, my approach was as a first user of the collection. It was very funny to do so. I am very interested in suppleness and by clean lines.
I tried to design glasses in one movement, one stroke. By doing so, it reminded me of calligraphy, which I used to practice.

In your opinion, what values should a design object or environment convey? Do you think design will save us?
Of course, the designer has a responsibility. When you bring another object into the world, you need to be sure of its impact. Materiality is very important, of course. But visual durability is very important too. We need to design objects that won’t fade with a trend, that people would be able and proud to pass on to their children. We also need to think about where objects are made and by whom. I don’t know if design will save us, but it can do a lot and it can also help to find solutions. This is what design is about: caring for the needs of the user and resolving challenges.

And what are your next challenges?
I just wrote my first novel, ‘Fleur de peau.’ It was a big and new challenge. Regarding the future, I hope to be surprised again.

 

Originally published in Eyebook 37 - photo by Vincent Leroux

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