Emotion over the textile: Cross interview in partnership with the Salon Révélation:

Morgane Baroghel-Crucq is a designer and textile craftswoman specialized in weaving techniques. In her Parisian studio, she designs and produces pieces for architecture and interior decoration. Virginie Chorro, with her partner Merry Liuzzo, form the duo Marcel & Jeannette in Paul Bert Serpette and offer ancient textile, from the 18th century to the 1960's.

In a few words, tell us about what characterizes your work?

Virginie Chorro: it's a passion, a philosophy of life ... beyond a job, it's a need for materials and colors, which is both very animal and very feminine. For my partner and for me, it is a visual reflex : when the eyes are on a matter, we need to have it

Morgane Baroghel-Crucq: this need and this passion, I also feel them, it is the starting point of everyday, of any creative step. Mine is that of a textile experimentation. I use a traditional textile technique of weaving that I seeks to make more contemporary using other materials such as metal, paper, mother of pearl. Matter is my first inspiration I will use it, study its technical and aesthetic characteristics to build a textile piece using weaving.

You both have a common area of interest, the textile, what brought you there?

Morgane Baroghel-Crucq: I fell in love with the technique of weaving in a school context by learning the tool and the gesture. I saw the infinity possibility of creations from different materials. But my interest in textiles came from before : from my mother and my grandmother I watched them embroidered, crocheted, knitted and sewed, when I was a kid. I was really fascinated to think that from nothing, from a thread, with the help of a know-how and gestures, we can create a concrete object. I think the transmission of this passion was made at that time and that was very strong. Today, it guides my work. I start from a thread, a material, and by an assembly technique, I create something else.

Virginie Chorro: my passion also comes from my childhood. My father was a merchant and I used to make me shacks with the cashmere we had at home. Especially, I was lucky that he buys costumes of the Grand Théâtre de Bordeaux. Every Sunday, I had the right to go to his shed and choose one. I remember the materials and crunches of the silk petticoats on the floor. It was the beginning of my passion for the textile that I later confirmed in a factory near Bordeaux. I met 18th century fabrics and there, in front of these colors, the study of these pimples, I felt a strong emotion. And when I unfolded later at home, it could even go to tears. The textile emotion can go so far ...

In your respective activities, what is your relationship to time and transmission?

Virginie Chorro: Concerning clothing, each period has something crazy and different. But especially, in every garment, we imagine, with my partner Merry, the person who was wearing it. For example, we recently bought a 50's wardrobe with only seamstress clothes. We could really see and represent their owner, this little woman very coquettish, without even having ever seen. The relation to time is to be able to touch such delicate things that we may never find again. That's why we must love them and handle them with tenderness.

Morgane Baroghel-Crucq: The time in the workshop is different for us and divides in two parts. First, we take the time to experiment for search, to be wrong and to find something satisfactory that we will explore. It is very important to take this time, not counting hours. I hear a lot around me that weaving is time-consuming, but personally, I think it's a bit of a reductive term. Because taking the time to put on channels, puts us in a meditative state, which allows us to reflect and deepen what we are working on. It is very important for me. And the second stage of the workshop, is the production, guided by deadlines. We must be as precise as in the research phase but with more efficiency. It is therefore a second relation to time, really different. But the first step feeds the second. More we impregnate, more effective we are, even in the gesture.

Virginie Chorro: This notion of impregnation, we also found it in our profession. Because when we buy, there is this very animal side, this inexplicable need to own this piece that we find wonderful. And it will feed the preparation of shops, what we will put forward, what we will tell and all the poetry that we will put in the decoration. It is first for us that we do it, to soak up our own universe and then pass on something.

Morgane Baroghel-Crucq : For me, there is two types of transmission : there is the transmission of my know-how and my techniques and there is also the transmission in relation to the object itself. It's pretty hard to put words on it but we still hope that emotions will speak for themselves.

Morgane, when you work on a piece, how do you imagine his life in several years or decades?

Morgane Baroghel-Crucq : When I work for orders, I think about longevity of the pieces because they will leave my workshop to have their own life. And in this case, I ask myself about the choice of materials for me ensure that they last in time. I use materials that come from industry and therefore have a technical traceability. For example, I work a lot with metal so I pay particular attention to have not oxidation problems.

Virginie, how do you select, with your partner, pieces that you offer ? How do you know that they will be appreciated, noticed, bought?

Virginie Chorro : At the beginning we must like them, it's essential, it's even a real quest. We buy because it's beautiful and it goes back into our universe. After we put them on stage. With Merry, we think that when the object pleases at least one person, it will necessarily please at least to another. Often a detail of clothing, textile, it is a piece of art because it is a creation that someone has thought, drawn. It is this love that makes the object and the emotion it brings come together.

How do you integrate the buyer into your creation / selection process?

Morgane Baroghel-Crucq: In my process, at the very beginning of my approach, I do not integrate the buyer ... that's why we take the time to search. I do things first because I have an idea, a desire.

Virginie Chorro: As I said, the selection is done a lot depending on what attracts us with my partner. But beyond that, we can keep a garment for years before selling it because each object can provide emotion at a specific moment in life. That's why the time it takes to sell it does not really matter.