Annotations cc: Philippe Malouin

Philippe Malouin, designer and artist, creates without hesitation. In his collaborations with brands and galleries, he pursues forms that are direct, adaptable, and unburdened by trend. In this conversation, we reflect on simplicity as a responsibility, and on the courage required to experiment without certainty. Philippe speaks of design not as spectacle, but as a response to how life is lived today. His process, rooted in both accident and precision, reveals a practice where intent and risk go hand in hand.

Anoe: Your designs seem to embody humbleness. They carry value without being imposing, enhancing life through minimal means. Is there a certain expression, intention, or language that you observe resurfacing in your work?

Philippe: My designs are meant to be used, not hinder life. I'm aware most people today live in small spaces. Most of my work adapts to contemporary needs: less space, more mobility. Space is precious, so I insist on maximizing functionality. The formal expression I favor is incredibly simple, not purely geometric, but geometric-based. It comes from the tools I have at the studio and the modeling softwares I've been using. I’ve been more and more comfortable about making things that are less wild and more sober. I appreciate design that feel timeless; when you aren’t able to tell when it was designed. A trend is an enemy because it makes products undesirable in six months.

A: When design comes from an authentic response to the present, it avoids the trap of trends yet still addresses current needs. You’ve mentioned simplicity, not just in form but also in use. What are other aspects are you addressing through your work?

P: My designs speak to the realities of my generation. Our lives are shaped by limited resources and smaller spaces. The Bilboquet lamp is a good example. It’s compact, portable, yet powerful. Currently, I’m developing a collection with this focus. The overarching theme is that my work isn’t for wealthy, or Instagram-famous people; it’s for people navigating everyday life, and I see that as a responsibility. Formally, I reinterpret classical shapes in a simple contemporary way. I aim for self-explanatory design and avoid hiding how things work.

A: Let’s talk further about your process.

P: Many of my pieces started with simple actions, like folding or hammering. Work evolves through back-and-forth experimentation between handcrafting and digital modeling. Making things physically allows ideas to emerge that you can’t achieve purely digitally. Accidents often lead to exciting results—like the Press mirror, which is created from a flattened tube, that I used as a shelf bracket. Most of my work involves this iterative, hands-on process.

A: Your work has intelligent, elegant details that sometimes become highlights.

P: I agree. My process might seem messy, but I have strong attention to detail. I often move between tasks and clean the studio, which helps me stay organized. I think of designing like cooking. Ideas are important, but the execution—the proportions, the size, and the scale—is crucial. Only when all ingredients, as in all elements, work together does the piece succeed.

A: Sometimes there’s conflict between the conceptual idea and the final product…

P: Yes. Sometimes the concept is excellent, but the form fails when realized. You need to abandon projects that don’t work in reality. Form must follow function.

A: Flexibility is necessary—you must be willing to adapt or even radically change ideas. Are there practices that accompany your design process, directly or indirectly?

P: Photography. I started using a film camera after buying one in Japan. Photography informs my design indirectly, often inspiring details. And inspiration comes naturally, it can’t be forced. I carry my camera everywhere, whether in Japan, Italy, or Spain. Travel plays a big role. Film photographs require deliberation and patience, and the results often surprise me. It’s a complementary practice.

A: Inspiration tends to surface as a spark—it’s spontaneous, yet rooted in personal experience. That spark creates its own momentum, and in many cases, it’s also what allows the work to speak to others.

P: Yes. You must engage with the real world. Stepping outside routine sparks ideas that resonate with others. Industrial design follows a standard process, but stepping outside allows creativity to return revitalized.

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Text: Anoe Melliou

Images: Courtesy of the artist; Philippe Malouin x Lehni at Salone del Mobile 2025, Photography by Jasmine Deport; Steel Works at The Breeder Gallery, Athens.