Mains d'avenirs - 19M

Introduction à l’exposition (Hall d’accueil)

• 19M propose une expérience immersive en deux temps. Le salon (6-7 juin) et l’exposition.

• A travers un parcours sensible, l’exposition permet de découvrir la richesse et la diversité des Métiers d’art.

• Dans cette exposition vous allez découvrir 9 métiers, comme autant de pratiques d’exception. Du dessinateur de broderie au chapelier, du bottier au couturier, du fleuriste de mode au parurier, elle met en lumière les gestes, les outils et les étapes de création, de la conception à la réalisation.

19M offers a two-part immersive experience: the fair (June 6–7) and the exhibition.

Through a sensory journey, the exhibition invites visitors to discover the richness and diversity of the arts and crafts professions.

In this exhibition, you will discover nine métiers d’art, each representing an exceptional craft. From the embroidery designer to the milliner, from the bootmaker to the tailor, from the fashion florist to the feather and floral ornament maker, the exhibition highlights the techniques, tools, and creative processes involved in each profession, from initial design to final creation.

Définition des Métiers d’Arts (Hall d’accueil)

Il y a 12 maisons, dont 11 Métiers d’Arts.

Les métiers d’art, se sont des activités exercées par des artisans qui mettent en oeuvre un savoir-faire complexe et rare, reposant sur la maîtrise de haute technicité ou traditionnelle.

L’autre composante, c’est que les Métiers d’Arts créer des pièces uniques ou de petites séries présentant un caractères artistique.

There are 12 houses at 19M, including 11 dedicated to the arts and crafts professions.

The arts and crafts professions (métiers d’art) are practiced by artisans who apply rare and complex expertise, based on the mastery of highly technical or traditional skills.

Another defining characteristic of these professions is the creation of unique pieces or small production runs with a strong artistic dimension.

Dans le couloir - Sur les échantillons de l’exposition

Les échantillons et les maquettes présentées sont issus de la collection Métiers d’art 2026 de CHANEL qui a eu lieu à New York en décembre 2025. Les collections Métiers d’art sont unique à CHANEL. Chaque année, depuis 2002, elles célèvrent l’extraordinaire savoir-faire français. Ce rendez-vous annuel est une déclaration d’amour aux artisans des Maisons d’art du 19M.

L’exposition propose une plongée au cœur de neufs métiers d’art.

The samples and prototypes displayed in the exhibition come from CHANEL’s 2026 Métiers d’art collection, which was presented in New York in December 2025.

The Métiers d’art collections are unique to CHANEL. Since 2002, they have celebrated the extraordinary excellence of French craftsmanship. This annual event is a tribute to the artisans of the 19M Maisons d’art and their exceptional expertise.

The exhibition offers visitors an immersive journey into the heart of nine arts and crafts professions, revealing the creativity, techniques, and savoir-faire behind each discipline.

Le mur d’outils

Que serait un artisan sans ses outils ?

Les outils des artisans sont un socle essentiels présent à chaque étape du processus de création. Symboles de l’alliance entre intelligence de la main et précision du geste. Ces outils -eux-même façonnés artisanalement, témoignent de l’excellence et de la singularité des savoir-faire portés par les artisans.

Accrochage graphique, sur des jeux de répétitions.

Il y a des outils que l’ont utilise au quotidien : marteau, équerre, feutre, mais des outils aussi plus spécifique : bouclard, crochet de lunéville, et gigolo. (=terme argotique d’atelier)

What would an artisan be without their tools?

The artisan’s tools are a fundamental foundation, present at every stage of the creative process. They symbolize the alliance between the intelligence of the hand and the precision of gesture. These tools—often themselves handcrafted—bear witness to the excellence and singularity of the skills carried by artisans.

A graphic hanging system explores repetitions and visual rhythms.

Some tools are used in everyday practice—such as the hammer, the set square, or the marker—while others are more specific, such as the bouclard, the Lunéville crochet hook, and the gigolo.

Installation Tamibé Bourdanné

En s’associant à Maison Michel, le photographe Tamibé Bourdanné a conçu cette installation qui réunit des clichés réalisés au sein des ateliers du chapelier. En alternant réalisme et abstraction, il présente des portraits d’artisans au travail, dont les plans sérré sur les mains et les mouvements, des photos de chapeaux, mais aussi des images d’ateliers. Tout en jouant sur le flou et les échelle pour saisir au plus près l’atmosphère qui émane des lieux. Son principe, célébrer les savoir-faire à travers celles et ceux qui les exercent.

Ce travail s’inscrit dans le cadre de la dotation le19M de la Photographie des Métiers d’art du Prix Picto de la Photographie de Mode, dont tamibé bourdanné est lauréat 2024 pour sa série synthétic Dreams. L’objectif de ce prix est de renouveler le regard et l’iconographie sur l’artisanat.

Photographe aujourd’hui basé à Londres, il est originaire du Tchad, du Niger et du Nigéria. il est né et a été élevé en Côte d’Ivoire. Dans une approche quasi documentaire, il explore de nombreux lieux et environnement, l’humain demeurant au centre de son oeuvre.

The trade of Fashion Flower

Fashion flower makers work mainly with textiles, but they may also use other materials such as feathers,  leather, horsehair, or paper. 

Pink camellia flower from the CHANEL Métiers d’art 2025/26 collection. Composed  of 23 petals made from shantung (a fabric regularly used by Lemarié to create its  flowers) and silk pongee, textured with a flower maker’s knife for a tweed effect. 

Approximately 17 cm in diameter. 

Technique: Die-cutting, Flowers / Camellias  

Production time: 44 hours 

What are the 4 steps? 

1. Starching: applying a liquid known as starch to the fabric and then drying it; this process stiffens the  material, reduces fraying, and helps the fabric retain its shape. 

2. Cutting: this is the stage where the petals are cut out, either by hand or using a cutter, before being  shaped.

3. Embossing, folding, or shaping: this is the stage where the petals are softened on a damp blotting paper  and then shaped into three-dimensional forms using a heated metal hand tool, known here as a couteau (knife). In the case of this flower, there is no shaping, as the tool used is not a ball but a pre-heated  couteau. (For the creation of the house’s signature camellias, this stage is called “rounding” as it  involves shaping the petals using a heated metal ball.) 

4. Assembly: the petals are glued one by one around a brass stem, starting from the centre of the flower and  working outwards to the third row of petals. It is at this stage that the artisan uses pliers, applying the  finishing touches known as “boulé retouché”, “frisotté” and “plissé” (pleated). Next comes the assembly  phase to shape the flower. The assembly is done on a brass stem. The petals are placed by hand, one by  one, around the stamen at the centre of the flower. Finally, the flower maker leaves the glue to dry for  several hours before tackling the final touches: applying the foliage, wrapping the brass stem with silk  thread and gutta (a thick, colourless substance used to define the contours). 

6) Did you know? 

- For a haute couture collection, Maison Lemarié created 2,500 camellias for a bridal ensemble,  ranging from buds to fully bloomed flowers. 

- A classic camellia has at least 14 petals, but some flowers can have over 100 petals. - Lemarié has created flowers from a very wide range of materials, including some unusual ones:  cellulose acetate, newspaper, raffia, feathers, drinks cans, banana fibre… 

- The Octave Feuillet vocational college, located in the 16th arrondissement^,offers a diploma in fashion flower  making.

The trade of Hat-making

On display: the Black Tiger fascinator 

First appearing in the early 20th century, the fascinator is a small hat worn at an  angle on the head, typically worn with elegant and formal attire. Very popular in the  1920s and 1930s, it is distinguished by its refined shapes and delicate  embellishments—veils, feathers, beads, or ribbons. Crafted from felt in this design,  the fascinator has stood the test of time while remaining a symbol of the elegance  and craftsmanship of haute couture. 

Step-by-step guide 

1. Sculpting: the block maker creates a bespoke wooden block in the shape of a tiger’s head. The block maker begins by carving the wooden form based on  measurements taken beforehand using the hat ruler. The form  consists of two parts: the crown and the brim (shown on the table).  To create this wooden tiger fascinator, a 3D-printed prototype was  first produced (point it out in the VM area)

2. Shaping: on the wooden form, the hatmaker shapes the felt, which has been pre-sized, dampened, and heated to make it malleable and give it its shape. On this wooden form, the hatter places the felt cone and coats it with  sizing using a brush. This water based solution will give the felt its  final stiffness. 

3. Setting: the felt is secured to the wooden form using rattan stays and  

string along the lines of the hat to give it its final shape. Once sized, the felt cone is heated under a steam dome at 100 degrees to soften it. The hatter stretches and tightens the felt over the wooden form and secures it using small pieces of rattan called  joncs and nails known as argentines, as well as string. The whole  assembly is placed in a drying oven for about an hour to dry the  

material.

Once out of the drying oven, the hat finally has its final shape. The hatter brushes and irons the fascinator to  remove any traces left by the previous stages. It is then removed from the mould using a demoulding tool. 

4. Finishing: the milliner sews the head lining and applies the logo to the moulded felt to finish the  fascinator 

The trade of adornment designer : Maison Desrues

We tend to think that the adornment designer designs and crafts garment ornaments—and that is true, but it is  not the whole story! They apply their mastery of metalworking techniques to fashion accessories and  jewellery, clothing ornaments, and decorative objects. 

From model-making to assembly, via electroplating and glass casting, all the techniques required are  complementary. Ultimately, it is by combining a perfect mastery of traditional manufacturing processes  with a rigorous approach to technologies such as 3D design and printing that adornment designers succeed  in creating stunning, complex pieces. 

The pieces on display: the Plastron 

Fashion necklace from the CHANEL Métiers d’art 2025/26 collection. 

Each flower is composed of a machined and lacquered polyester bead, and petals in cast brass and resin. The  final piece is assembled using mounting rings.

5) Step-by-step guide 

1. Design: creation of a two-part 3D model of the jewellery. To produce the technical drawing of the breastplate,  the adornment designer used CAD (Computer-Aided Design) software to view the prototype in three  dimensions directly on screen. The prototype model  was then created in two stages: first by hand, using  cold-working techniques to cut the brass sheet, and  then using 3D design for the finishing touches. 

2. Casting: creating brass flowers using the lost-wax casting technique. The model is sent to the foundry so that the caster can design the mould and produce the brass flowers using the  lost-wax casting process. 

This is a complex process that enables the original model to be reproduced as faithfully as possible, giving the object a remarkable finish. The original model is placed in a mould into which wax is injected, taking on the finest relief details of the hollow impression. The resulting model is then placed in a plaster mould, which is  put into a drying oven, allowing the wax to melt away and be replaced by molten metal. 

3. Treatment: applying a coating to prepare the surface of the flowers, followed by electroplating to give  them shine and colour 

Once this stage is complete, and after the material has been cooled and removed from the mould, the  adornment designer can begin the finishing touches: deburring, polishing, tinting, gilding and patination… 

The flowers are attached by hand to a bouclard, a cylindrical support similar to a coat hanger. Once the  bouclard has been immersed in an electrolysis bath, the metal flowers are coated with a thin layer of 1N gold powder  via electrodeposition—a process known as electroplating. After gilding, a patina is applied to the metal pieces to give  them a more authentic, less shiny effect. 

4. Manufacturing: machining of polyester (PMMA) beads (buds) 

5. Decorating: applying coloured resin and varnish to the flower petals (red, black, pink, white, yellow,  blue…)

6) Did you know? 

The story goes that a designer in the 1950s went to see Georges Desrues the day before his fashion show and asked  him to urgently produce chocolate-shaped buttons. Desrues is said to have gone to a pastry chef and, with his  team, managed to cast replicas of the chocolates overnight and have them delivered at dawn.

The trade of Fashion Jewellery : Goosens

 The trade 

Whether it involves assembling and clasping the links of a chain or a belt, or setting a bead or crystal in a  cabochon setting: every task undertaken by a fashion jeweller demands remarkable precision. In particular, fashion jewellery involves creating jewellery in small batches or as one-off pieces intended as fashion  accessories or, as we have seen, as parures that elevate a look for Haute Couture fashion shows. To achieve this,  fashion jewellery requires numerous skills, and the techniques involved are so precise that they have become  specialities in their own right, with their own dedicated titles. 

For example, the role of the “finisher”, whose work precedes or complements that of the jeweller. Their  task is to transform metal surfaces using various techniques: polishing, gilding, or enamelling. For their  part, resin decorators work with this polymer to apply a decorative finish to part of the jewellery. While skills involved differ, the aesthetic effect achieved is similar to that of enamel. 

4) The pieces on display: The Dalmatian, Doe and Bird brooches 

In this section, we will explore the step-by-step process for three brooches designed by Maison Goossens for  the CHANEL Métiers d’art 2025/2026 collection. 

The Dalmatian and Doe Brooches 

Modelled in 3D and then printed in wax before being cast in brass using the lost-wax  technique. The models were then finished by hand, polished, and gilded before being  coated in resin. 

The Dalmatian brooches were then entirely encrusted with rhinestones (crystal and jet  black) and adorned with glass eyes and a dangling pearl. Dimensions: 6.4 × 4 cm 

5) Step-by-step guide 

Come closer and look through the magnifying glass: on each rotating plinth, you can see the elements that  make up the step-by-step techniques behind the Dalmatian, Doe and Bird brooches. 

There are five key steps in making the Dalmatian, Doe and Bird brooches 

1. Design: Production of the jewellery model by hand or by 3D modelling. 

The design of a brooch, like any piece of jewellery, stems from an idea or a  

brief—in this case, our Dalmatian, Doe and Bird animal brooches. Based  

on this brief, the model maker hand-carved a small block of brass to  

trace the shape of the bird. 

• Printing – intermediate stage: production of certain parts in resin using 3D printing to validate  measurements, etc., then in wax for brass casting 

In addition to the jewellery-making process, and particularly for the Dalmatian and Doe brooches, the model  maker used software to develop the brooch design directly in 3D.

• You can point out to visitors that before 3D technology, artisans did everything by hand – both  techniques are now used (3D saves time). 

2. Moulding: creating a mould from the model 

After sculpting the metal model for the Bird brooch or 3D printing the model for the Dalmatian and Doe  brooches, the jeweller sends the first brass prototype to the caster who designs the mould and produces the  desired piece using the lost-wax casting process. 

Using a silicone mould—either rectangular or disc-shaped (shown  here with the Dalmatian indentation)—the brass prototype model  is encased within it. Once pressed and cured, the mould is cut open,  the piece that has left its impression is removed, and feed channels  

are traced. 

Sensory experience 

Smell the distinctive scent of the silicone moulds used for casting. Made from a hand-sculpted pewter  model, these moulds enable the pieces to be reproduced using the lost-wax casting technique: the injected  wax forms a “wax tree” placed in a heated plaster cylinder, where the wax melts away to make way for the  molten metal. 

3. Assembly: attaching the wax parts to a rod to create the wax tree used for casting 

Next, wax heated to around 70°C is injected into the centre, where it then flows through the channels to fill  the hollow impression of the model and take on its shape. For this process, the components of the resulting  piece are usually mounted on a central rod to form what is known as a wax tree (pictured here is an example  of a wax tree used for the Dalmatian and Doe brooches). 

4. Casting: replacing the wax with molten metal to obtain the metal casting 

Once the components have been assembled in this way, the wax tree is placed inside a steel cylinder coated  with refractory plaster. The cylinder is placed in a kiln for a firing cycle of approximately 8 to 10 hours at  around 750°C. As it heats up, the plaster coating hardens; the molten wax flows out through the bottom:  this is why it is “lost”, hence the name of the process. The caster then fills the empty space left by the wax  with molten brass. Without waiting for the cylinder to cool completely, it is quenched (i.e. immersed in cold water  to cause a thermal shock that shatters the plaster). 

Once cooled and pressure-washed, the pieces—still attached to their tree—are returned  to the jewellers for the recasting process and the assembly and polishing of the metal  parts (here, you can see the brass bird after it has been detached from its metal tree).

5. Finishing: polishing the final cast piece to prepare it for gilding and the setting of rhinestones and  enamel. 

After casting and pouring, the various components for each brooch are sent for finishing. They are often  worked on individually before being assembled—particularly in the case of the Dalmatian brooch, which is made up of two parts. 

Initially, the pieces are reworked by hand after casting, filed and polished to remove excess material,  smooth the edges, soften the metal’s surface and bring out a shine using pads and emery powder. 

Once the casting process is complete, the pieces are sent for gilding. To give them a more natural, less shiny  and more authentic look, a patina is applied to the brooches—a black liquid that “ages” the metal layer. 

The brooches are then assembled: 

The trade of emboidery design : Atelier Montex

2) The trade 

This is where it all begins! The artisan who presents, whether by hand or computer, the first sketch of what will  become an embroidered fabric. The role of the embroidery designer evolves throughout the various stages  of the creation of a collection, beginning with the sampling phase, where embroidery designs conceived  jointly by designers and embroiderers are proposed. 

When a fabric sample is selected for a design, the designer creates a mock-up and proposes the placement  of the embroidery on the garment pattern. At the same time, the sample is transferred graphically onto tracing  paper as a technical drawing which, using a key, allows for an accurate reading of the placement of the various  embroidery elements: beads, bugle beads, sequins, paillettes... 

The drawing is then adapted for pattern-making, before moving on to the “pricking” stage. The tracing  paper is perforated using a machine similar to a tattooist’s—a pricking machine—following the lines and  symbols of the technical drawing. This perforated tracing paper allows us to move on to the next stage of  “pouncing”, which involves applying a pigmented powder called pounce through the perforations and  directly onto the fabric. As it passes through the pricking holes, the pounce marks the outline of the pattern  to be created very precisely on the fabric. This provides the embroiderers who will work on the piece  following these stages with an optimal guide to work from. 

3) Materials and tools 

The embroidery design is always drawn on tracing paper, usually with a mechanical pencil, although the  designer may use coloured pencils to make the key easier to read. They also use standard measuring tools  such as a ruler or set square. Among the more specialised tools, the embroidery designer uses  a French curve or a styling curve—a kind of curved ruler used by  pattern-makers to draw precise, elegant curves. 

For the pricking stage, the designer uses a pricking machine, a motorised but hand guided device that makes minute holes along the outline of the technical drawing. This  copy of the technical drawing on perforated tracing paper is known as the pricked  tracing. 

For the stencilling stage, the designer uses a felt pounce pad to apply the pounce  mad

of pigments and resin directly onto the tracing paper. This method transfers  the entire technical drawing onto the fabric, so that it is visible to the  embroiderers. The pad is a piece of felt, often made from Maison Michel’s felt  offcuts. 

 Step-by-step guide 

1. Objective: to develop creative designs based on inspirational archives 

Every creative process begins with and draws on a research phase, and the art of embroidery is no  exception. After reviewing the specific brief or the idea proposed by the artistic direction team, the  embroidery designers delve into the House’s archives to draw inspiration. Discover this sample, which  reflects the initial inspiration behind the design.

From this archive, the embroidery designers, in consultation with the embroiderers, worked together on the  theme of the “fish” and produced several samples, which you can see below. (Each sample, designed and then  embroidered on paper, has its own label detailing all the materials used.) 

2. Layout: creation of a full-scale paper mock-up and adaptation of the embroidery from the sample to  the final design Samples that do not make it into the collection are, in turn, added to the  archives and may serve as inspiration for future designs. As for those that  catch the eye, they form the basis for defining the future look: a decision is  then made as to whether the samples will form part of the garment or cover  

it entirely, known as an all-over embroidery. In the case of the fish dress, several samples were selected. The designers  then created a full-scale paper mock-up to position the samples on the  prototype, as you can see from the various Post-it notes placed on either side  of the paper mock-up. This provided them with a 360° view of the prototype,  allowing them to adapt the embroidery from the sample directly onto the final  

design to be produced. 

3. Tracing: transferring the technical drawing onto tracing paper and defining the list of materials 

Following the research and development and design stages, the embroidery designers turn their attention to  the technical drawing on tracing paper. The technical drawing reproduces at full scale the embroidery  design(s) to be produced on the final garment. The chosen samples are always the starting point—in this case, our  little fish—which serve as a reference and are reproduced on the technical drawing. This drawing features a  very precise and rigorous coding system, as well as a list of the materials and supplies to be used in each  position. The technical drawing includes instructions enabling the embroiderers to know exactly where and  how to embroider: in a sense, it is the identity card of the embroidery to be produced. 

4. Pricking: marking out the design using a pricking tool to prepare to transfer the pattern

Once the technical drawing stage is complete, the designs must be transferred onto the fabric to be embroidered: this is  the pricking-pouncing stage. 

To do this, draughtsmen use a pricked tracing—an exact copy of the technical drawing but with small holes  punched into it using a motorised machine known as a pricking machine. The head of a pricking machine consists of  a small needle which, guided by the designer’s hand, pierces the tracing paper along each line and symbol of  the technical drawing, serving as the guide for the embroidery. 

5. Pouncing: transferring the design onto the final fabric using the pricked drawing and a pigmented  powder, to guide the embroiderer’s work 

Once all the lines and symbols from the technical drawing have been marked onto the fabric, which is stretched taut  on the embroidery frame, the next step is the pouncing process. Pouncing is carried out using pounce: a two component powder made from pigment and resin, available in various colours, though often white. The  stencil powder is applied directly to the tracing paper using a stencil brush, made in-house from felt,  sometimes sourced from Maison Michel offcuts. 

6. Embroidery: creating the final embroidered piece on an embroidery frame using the definitive fabric, before sending it to the sewing workshops for assembly. 

The pricking-pouncing method allows the entire design to be transferred onto the fabric, making it clearly  visible for the embroiderers. To fix the design in place, the designers spray it with alcohol. Once the design  has been transferred to the fabric, the embroidery work can begin. 

The trade of Lesage

4. The pieces on display: The embroidered ensemble 

A chiffon ensemble from the CHANEL Métiers d’art 2026 collection. 

Adorned with a peony motif entirely embroidered by hand. The composition features nearly 33,000 bugle  beads. 

5. Step-by-step guide 

1. Research: identifying different materials. Once the materials have been selected and the design  approved, the embroidery designers can produce a technical embroidery drawing with a key for  each material, as seen above in the embroidery designer’s step-by-step guide. 

2. Testing: producing an embroidery sample that meets the designer’s brief. Here you can see the  sample that “made the collection”, a term used in the workshops meaning that a sample has been  approved by the art direction. 

3. List: compiling a list of the materials used for the sample. In this case, the list is fairly short as  the materials used are mainly turquoise glass bugle beads (33,000 of them!), as well as silk  threads. 

4. Embroider: producing the final embroidery piece on an embroidery frame using the final fabric,  before sending it to the sewing workshops for assembly. 

6. Did you know? 

At Lesage, when a sample falls on the floor, they say it’s going to be a success.

introduction to the flou : Paloma

Alongside the Mains d’Avenir exhibition, la Galerie du 19M invites visitors to discover the art of textile creation with  the Ateliers Paloma. 

Designed as a space for sensory exploration, the workshop focuses on flou—a French term used to describe soft,  light, and flowing fabrics, as opposed to more structured textiles. 

Using textiles from the dormant stock of the Maisons d’art of le19M, each participant is introduced to the  creation of chain mail, an assembly technique involving interlocking rings that form a structure which is  both flexible and resistant. Participants thus create garlands in delicate hues, ranging from sea green to  powder pink and greyish lilac, using light, airy fabrics. 

The trade of shoemaker : massaro

2) The trades 

In shoe-making, there are seven trades: 

The designer: After discussing the brief with the client, they sketch the materials, colours, and overall look  of the shoe. 

The last-maker: Takes the measurements of the foot and carves a wooden last (often made of beech or  hornbeam) to serve as the base for the shoe. This stage defines the shape, heel, and initial structure known as  the “insole”. 

The pattern-maker: Takes measurements and marks out the pattern lines on the wooden last in order to  create the pattern for the various materials. They ensure the proportions are respected (such as the height of  the vamp or the quarter) to remain true to the original sketch. 

The cutter: Cuts out the various pieces of material according to the measurements of the patterns previously  created by the pattern-maker. 

The closer: They assemble the leather pieces cut out according to the pattern to form the upper of the shoe.  This is then stretched over the last and secured using small stitches. 

The last maker (or fitter): Creates the reinforcements to give the shoe its structure and attaches the sole to  the upper. They also fit internal components such as the counter, the side stiffeners, the toe puff, and the  heel. 

The finisher (or shoe-pamperer): Carry out the final touches: they remove the last, adjust the details and  ensure a flawless finish. Once perfectly finished, the shoe is ready for delivery.

4) The pieces on display: the Slingback (Look 45) 

The shoe pictured is the Slingback from the CHANEL Métiers d’art 2025/26 collection. It is a shoe with a smooth  sole, a heel with a leather base, and 5 mm-wide straps. The crocodile-print leather upper is paired with a  white patent leather toe cap, featuring a natural leather reinforcement and a slightly asymmetric interior line. 

5) Step-by-step guide 

In five steps: 

1. Cutting: Drawing the pattern onto the last and cutting out the leather pieces that will make up the shoe. 2. Stitching: The upper (the part of the shoe that covers the foot) is constructed by sewing the pieces  together 

3. Assembly: The upper is shaped, the insole board is added (the lower part of the shoe to which the  insole will be attached), and the sole is prepared for assembly. 

4. Shaping: The space between the insole and the sole is filled with crushed cork to create a comfortable  surface that moulds to the shape of the foot 

5. Finishing: Final touches are made to the shoe (cleaning the leather, applying wax, glazing, colouring,  polishing…). 

6) Did you know? 

At Massaro, the artisan responsible for the finishing stages of a pair of shoes (insole, refreshing, cleaning,  waxing, buffing, etc.) is called a bichonneur (shoe-pamperer). 

At first glance, you might expect a 3D scan to be more accurate. However, in haute couture and bespoke shoemaking, that is not always the case,

A foot is a living, dynamic structure.

A 3D scan captures the foot in a static position. In reality, the foot is constantly changing:

• it widens under the body's weight;

• the arch lowers slightly while walking;

• As the client stands on a sheet of paper and the outline of the foot is traced, the shoemaker simultaneously observes:

  • pressure points;

  • the alignment of the leg;

  • bunions or other deformities;

  • the flexibility of the joints;

  • the way the client distributes their weight.

The art of the cut

The ERES artisans work primarily with two signature materials: 

- Peau Douce, the brand’s signature fabric, specially developed to give swimwear a true second-skin  feel. 

- Lace, sourced from the expertise of lace-makers from Calais and Caudry—historic centres of  Leavers lace—with whom the brand continues to collaborate. 

4. The pieces presented 

V-neck bodysuit with plunging back, made from stretch Leavers lace, lace trim, wide non-adjustable straps,  bust darts, and snap fastening. 

5. Step-by-step guide 

1. Sketching: Draw the design and put together a mood board with a colour chart. Here is a sketch by Marie Paule Minchelli, director of the ERES studio and collections. You will also find a sample of Volubilis  lace and a lace trim. 

2.Mocking-up: Create an initial trial of the lingerie set to check the fit and proportions. 3.Pattern-making: Create the pattern for the design directly on the fabric. 

4. Cutting: Prepare and cut the pattern pieces on the cutting table. Marked paper ensures a highly precise  cut. 

5.Organising: Define the assembly procedure and sequence. This essential production document is then sent to  the assemblers along with the cut lace pieces to guide assembly. 

6. Assembling: Putting the pieces together to create the lingerie set 

MTX Studio Curtain

The curtains on display 

Les Voiles RIVES 

Entirely handcrafted by the artisans at Studio MTX, Les Voiles Rives transforms drawing into textile  architecture. Suspended in la Galerie du 19M, the work creates a poetic and immersive setting, blurring the  boundaries between art, craftsmanship, and design. 

3 compositions comprising 3 sliding panels on Silent Gliss rails and a solid sycamore suspension bracket.  Models: Leaves Blank, Octave, Sunset & Rayon. 

Overall dimensions: W 280 × H 330 × 45 cm 

Technical details: Fire-retardant fabric, brass components: flat bars, rods, and tubes hand-embroidered, in  brushed brass with a matt finish, suspension bracket in sycamore maple with a matt finish.