Bouroullec Brothers: A creative dialogue between two radical moderns, The

Graphis, Jul/Aug 2003 by Braunstein, Chloe

The surfacing of the Bouroullec brothers in the late '90s was indubitably paralleled by a generalized trend on the creative scene in France. The fashion world was enjoying a breath of fresh air with the arrival of new names at the head of several major fashion houses: Hedi Slimane for Dior Homme, Jose Levy for Holland & Holland, and Christophe Lemaire for Lacoste.

Renewal was also the key word in architecture, where exploratory modes of expression reflected the concerns of the period: Orleans' annual Archilab exhibition bore witness to a new way of envisioning architecture gaining ground thanks to young architects like Francois Roche, Anne Lacaton and Jean-Philippe Vassal. Coinciding with the opening in January 2002 of the Palais de Tokyo in Paris, business companies and the general public alike-until this time relatively unreceptive with respect to new forms of art-now opened their minds to contemporary art and its relevance. Finally, there is no denying the growing economic and cultural interest in design felt by French consumers become more aware and demanding with respect to their surroundings.

The last few years have seen the emergence of French designers achieving success abroad with the likes of Christophe Pillet, Jean-Marie Massaud and the Radi Designers. All of which has given a good shot in the arm to the creative scene, rendering it that much more receptive to "the Bouroullec solution." Meanwhile, these unassuming young brothers know no end to the strong yet unpretentious objects they are dreaming up to enhance our lives both today and tomorrow.