Art market Magazine January 2017

 
INTERVIEW 
 
Pierre Yovanovitch's French touch 
A…
INTERVIEW

Pierre Yovanovitch's French touch
A self-taught interior designer, he started out working for Pierre Cardin, before becoming a big name in the profession, much sought after
by leading collectors. We talk to the champion of a decidedly French eclecticism. How would you define your style? I make things that are fairly contemporary, not too radical, with a very warm ambience, using untreated materials. It's important to preserve a French identity, given our knowledge of French craftsmanship. It's something I defend to the hilt. I do a lot of tailormade projects, but I like mixes and eclecticism. Our clients want cultivated projects which look like a "collector's house". They provide their collections; we provide our taste for diversity. I don't want everything to be vintage. We need to support contemporary creation by collaborating with designers. For example, we are making a chandelier for a US client with the French designer Mathieu Lehanneur, who has developed the idea of a glass cloud. His compatriot Martin Szekely also makes bespoke items for us. As a result, our projects are rich and varied. You have been a driving force in the art market for various historical designers from northern Europe… Axel Einar Hjorth is one of my favourites. At the beginning of the century, he designed marquetry furniture in a neoclassical style for the bourgeoisie of Stockholm. He made a whole series of untreated pine furniture for country houses, whose price index has exploded. A while ago, a set of chairs used to sell for €2,000 to €3,000; now you add a nought. The same goes for Paavo Tynell. I began to buy his snowflake chandeliers fifteen or so years ago – they cost nothing. Now, it’s €80,000 apiece. And I tell my team to pay attention because I have sometimes bought small lamps abroad which turned out to be new. I'm very attentive to the authenticity of pieces. I prefer them to have a patina, and even be a little worn, rather than bright and gleaming. You are influencers in the world of furniture, but is this also true for the visual arts? Often, my clients already own large collections they have built up with the help of advisers. However,

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Pierre Yovanovitch

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© José Manuel Alorda

Art Market Magazine January 2017
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