In 2009, Moustache made his first appearance during the Milan Furniture Fair.
We decided to support his launch with a series of photos taken on site in the newly restored period rooms in the Musée des Arts décoratifs de Paris. In fact, these associations of contemporary and antique objects give our very young French publishing house its roots in its own national history of decorative arts and design.
In a very forceful way, these photos show how our contemporary productions engage naturally in a dialogue with other objects whose know-how and production techniques sometimes belong to a period several centuries earlier.
Hieratic, controlled and finely honed, these images are rapidly shaken up by the reality of the exhibition during the Milan Design Week and the novel dialogue that the public will engage with our objects.
We were anything but prepared for it, the people spent a week examining, touching, trying, assembling, setting up and dismantling the smallest objects whose characteristics are an invitation to experiment in all ways.
Dumbfounded, we ourselves were got hooked and resolved to boast about, to promote, backed up with animated demonstrations and rituals, the technical merits, assembly tricks and the mechanical intelligence of our objects.
After a lot of thought was given the photos in the Museum and cleverly lit, the second overall view of our new collection projected us in front of potential users taking up objects to understand them better but even more to lay down bases for relations with them.
Obviously, during the Design Week, the Milanese public had their particularities and a few obsessions that very few other people could claim to have! Nevertheless, this first real rapprochement between the public and our objects marked us substantially and made us discover, in a playful way, the complex relation that human beings are capable of having with objects.
Since then, the idea of producing living directions seemed to us to be vital. What we observed in Milan should be made public and offered to those who really use our products, our clients.
In this way, the Mode d’emploi project came into being in our minds after our very first Milanese marathon with Moustache.
To this first technical aim of a film making the assembly of our objects legible and intelligible, we also wanted to try to provide an artistic dimension which would say more about Moustache and we ended up by deciding that the user's figure would be portrayed by dancers.
The objects we selected to show in this film are not only the ones that obviously need to be assembled, but also others whose interactions with the user seem interesting or simply beautiful.
So, in succession, we see Samuel Mercer changing the cover on the Bold chair because he wants to change its colour, Jurgita Kaunasiciute fixing Inga Sempé's Balcons to a wall, Samuel again, handling the Baobab table by Ionna Vautrin or re-assembling the Scarabée vase by Jean Baptiste Fastrez that he has just cleaned.
Samuel Mercer doing a split seemed essential to show that the Scholten & Baijings Strap chair can be easily stacked. The Aurore lamp by Ferréol babin only expresses its interest in the need for interaction that it arouses in Jurgita.
We asked Charles Negre and Leewei Swee, who directed this film, to do the remainder.