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Inspiration
The Socialite Family & Sarah Martinon
In the midst of winter, we find solace in cozy fabrics crafted through generations of skill, while we eagerly anticipate spring, warming ourselves with imagery that transports us to brighter times and cherished memories. The recent collaboration between The Socialite Family and graphic designer Sarah Martinon encapsulates this winter ambience with two striking pieces: a
and a set of
, both featuring a dreamy, fantastical landscape. Their creative process delved deeply into craftsmanship, drawing inspiration from Italy, the glamorous aura of the 1970s, and the nostalgia of childhood, shared passions between the project’s instigator, Constance Gennari, and the artist, Sarah Martinon. What message lies behind their work, titled “Il cielo in una stanza” (The sky in a room)? Let’s explore in their joint interview.
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TSF
How did you meet, and how did the idea of working together come about?
Constance
It was three years ago. I’d seen Sarah’s work in fashion, particularly with the Françoise brand. One thing led to another, and I discovered her drawings, particularly on fabric. I contacted her, then I got in touch with her agent, and we started talking about doing something together.
Sarah
After that, we talked a lot, and I showed her the panoramic scenes, landscapes and frescoes I was creating. That’s when we decided to think about creating a landscape together. At the outset, we didn’t know what the final support would be – a tapestry, a folding screen or perhaps wallpaper. Then we talked about Constance’s childhood memories.
Constance
I’ve always loved the lake in the Bois de Boulogne. We used to go for walks there, when I was a child. Sarah has drawn on this memory to create a dreamlike landscape that doesn’t quite belong to reality…
TSF
What did you wish to achieve together during this collaboration?
Sarah
I wanted to create a decidedly shimmering, floating effect in this dreamy landscape. You can see the reflections of small islands, and you’re not quite sure which is tree, bush, land or water. The importance of colour is paramount here. I was inspired by the fantastic landscapes created by the Symbolist painters, as well as those by Félix Vallotton, not to mention the work of Bernard Nevill with his designs for Liberty of London in the 1970s. I’m obsessed with colour. There’s also something of the Italian cinema, perhaps. Our two worlds often meet there, in Italy, and also in fashion with legendary names like Biba and certain interior designers, including Madeleine Castaing.
Constance
In one of the final pieces – the tapestry – the feel, the fading, the nuances, and the colours- are beautifully translated. This is due to the craftspeople at Tissage des Flandres, based in Lys-lez-Lannoy in northern France (the historic textile manufacturing area), with whom we’ve teamed up.
Sarah
The interesting technical detail about the tapestry is that we didn’t want flat areas of colour or large expanses of uniform colour: this made it an ideal design to reproduce in tapestry and visibly in the weaving.
TSF
What do you like about each other’s worlds?
Constance
Personally, I think it was common references that brought us together: Italy, the 1970s and a certain glamour, colour and joy. Quite a dreamlike world, too. I love it!
Sarah
I like the fact that The Socialite Family isn’t afraid to use colour. It appears everywhere in the brand, in your very bright lacquers, for example.
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TSF
Can you describe the spirit of this collaboration in a few words?
Sarah
An escape, like in Renaissance paintings, to another landscape. Like a window opening onto another world. A new view to hang on the wall.
Constance
In fact, that’s what it’s called: “The sky within a room”! It’s a very contemplative landscape, one you won’t tire of looking at and one in which you can immerse yourself, always discovering new details, extra nuances and new interpretations. It’s ultimately something very intimate.
TSF
When did you decide that this landscape would become a pair of curtains and a tapestry?
Constance
The curtain was an idea that emerged quite early on, I think. Before the tapestry. In fact, we weren’t sure where we were heading at first with this landscape. We wanted to produce a design together, something from our imaginations, and let it rest, to see…
Sarah
After a while, Constance came up with the idea of a tapestry.
Constance
I love tapestry; it’s a craft I really like, and it involves true precision work. I often buy antique tapestries for my home, at auction, for example. I wanted our brand to showcase this amazing expertise, which continues to exist through the hands of the men and women who devote their lives to it! It’s not an obsolete, dead art form, quite the contrary. I think there’s even been a genuine revival of interest in tapestry in recent years.
TSF
Tell us about the production of the different parts.
Constance
The weavers work on Jacquard looms. They manipulate five colours of thread to create thousands of visual colours: that’s the real skill of jacquard weaving. Starting with an original design, the pattern is created, with colour codes derived from complex calculations and precise testing, and this serves as the basis for weaving the tapestry. They manage the yarn tension, weaving speed, etc. And the craftspeople set to work using mechanical looms. For the curtains, our Italian partner workshops weave a canvas and a digital print of the landscape is applied to that.
TSF
What struck you most about working with Tissage des Flandres in making this tapestry?
Sarah
The work the craftspeople do is awe-inspiring They are truly at one with their machine: barely touching it, just listening to the sound of the heddles; they know when a thread breaks or when there’s an error. In fact, they often say that the tapestry is alive and that they need to work without earplugs to listen to it. And it moves with the air according to the season, temperature, humidity and even the time of day. Sometimes, bad weather prevents them from weaving for several days because the yarn is not as supple as it should be or because of some other characteristic… The tapestry stretches and relaxes all the time. Like a being.
Constance
It was a pleasure, a real luxury, to be able to work with these traditional skills and expertise applied to this contemporary design.
Sarah
It’s also about people. Marc-Antoine Kerkhof ‘s enthusiasm stands out. He’s passionate about his work.
Constance
And Caroline, the colour magician… She is the one who managed to find the exact tones and shades to ensure complete accuracy in the colours of this tapestry. Because in tapestry, a colour isn’t just a colour; it’s a mixture of threads that we have no idea are intertwined. Finished colours are often indefinable because it all comes down to the tiniest nuance.
TSF
How would you see yourself living with these pieces?
Sarah
I’d put the wallpaper where there’s a window missing.
Constance
For me, above a bed, as a headboard. Or a sofa or a sideboard. So I could look at it all the time! Tapestry has a patina; it lives, it evolves, and it moves. The curtains can be hung in front of any window, and when they’re closed, they conjure up a different landscape… They’re perhaps a little less risky than the tapestry.
TSF
Why and for whom have you designed these creations?
Sarah
For ourselves, first and foremost! (Laughs)
Constance
For people from all walks of life and of all ages. Tapestry isn’t old-fashioned! The design is modern, and the material is warm. It brings the generations together.
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