I come from the countryside, but I'm a city girl. I like the dynamic side of big cities; it suits me perfectly. I found it hard to leave Paris. I've dreamt of Paris! Apart from that, my parents were keen sailors, and we went to Brittany a lot. As a result, I'm crazy about the sea. Well, in Brussels, it's a bit frustrating... But when we get the chance, Thibault and I go surfing. I define myself by this passion; I've spent my life by the ocean. I also spent a long time on holiday in the Lot-et-Garonne, at my grandparents', and above all, I spent a lot of time in my grandfather's workshop, where he was an engraver. I was introduced to craftsmanship at a very early age. I'm still very interested in it, particularly ceramics.

My parents were school teachers. I lived above the school and was my father's pupil in a single class from nursery to CM2, with between 13 and 20 pupils at the most each year. I had a very rural childhood, and I have this dream of returning to the countryside, which Lisa is fighting against (laughs).... I used to tinker and draw a lot with my father, who was passionate about watercolours - since then, he has devoted himself entirely to them - but also about the maritime environment and its elements, such as old rigging. We made lots of model boats and aeroplanes together. I loved these times of making things right from the start, and it had a big influence on me, building something with my hands.

That's true. I loved my childhood. My mother is passionate about history, and when I was a kid, I wanted to become an archaeologist. What's funny is that today, when I'm working on a piece, I take a somewhat scientific approach. I delve as deeply as I can into the work of the craftsman to understand what they are doing with their hands when they make an object. I think I got that from my mother.

It was 2020. We needed to move as I had the contract at the European Commission. I scheduled several viewings at the same time during a round trip. I saw the living areas, and especially this very large bay window, this feeling of space - I should point out that we're both tall, 1.85 m and 1.87 m - and all this light. I also liked the beams. It was the first apartment I saw in Brussels. Thibault saw and agreed to it remotely. The added bonus was that we discovered our neighbourhood, Saint-Gilles, after the event because, in the middle of COVID, everything was closed. We were delighted to discover that it was very much alive, full of young people and businesses.

There wasn't really a very clear plan. We just wanted something cosy for us with the possibility of having dinner parties for our friends. It feels like you're in a sort of tree house. And even though it's Thibault's job, the decorating is still a joint effort! We talk a lot about our work. We arrived here in the middle of a lockdown, so we talked a lot about design and politics (laughs). We moved here together, in Brussels, so there's the furniture and objects we brought with us, each on our own, but the rest is mainly second-hand when it's not Thibault's prototypes. We're tenants, so we can only change the decoration. My passion for the sea is also reflected in our interior: we have lots of marine touches, including two marine paintings by friends depicting waves, sometimes a bit hybrid, waves and mountains. Since then, things have evolved quite a bit. And Thibault and I are always fighting over the paintings: I'd like them on the wall, and he'd like them on the floor (laughs).

It's true that we don't really have a decorating logic here. Everything evolves, and I like the notion of moving things around. For example, putting paintings on the floor means you can move them around and change them whenever you like, depending on what you want to surround yourself with. I like living in my own little mess because it's creatively stimulating. I also like the idea of having lots of items that I've brought back from all over the place, and that I can tell the story of every object in my home. Brussels is also one of the antiques capitals, so we do lots of bargain-hunting.

We built our library together, and I really got into it. As it was done twice, the shades of the same wood are slightly different. Otherwise, we've travelled a lot together to Morocco, where I've been going for a very long time myself. I really like the rug we brought in and put in the living room. It fills almost the entire space. It brings a real warmth to the place, and when you look at it, you always think of the place where you bought it, a souk that you loved. We don't always see eye to eye when it comes to decorating, but when it came to this purchase, things went really smoothly! I'd also like to add that I really like the metal lamp designed by Thibault, placed in different parts of the house. It is a deceptively simple, radical object; it's both curved and angular.

I'm particularly fond of one of my latest acquisitions, an Aluflex chair designed in the 1950s by Zurich designer Armin Wirth. I love the design of this seat: you can see the detail of the joints, something I'm very conscious of. And I really like our photography by Elliott Verdier, with whom I've worked: I produced the presentation box for his book.

We're in the middle of Paris Design Week and, at the moment, with my partner from the Meet Met Met collective Jean-Baptiste Anotin, we're curating the "Factory" spaces for Paris Design Week. We selected designers from the young guard based on the year's theme: Terra Cosmos, spaces of the future. The idea is to provide a snapshot of what's happening on the international design scene.

Calmos (Rue de Tamines 1, Bruxelles), our favourite wine bar! There's always a great atmosphere, good funk-disco music, good wine and excellent croque-monsieur served with homemade ketchup - because in Belgium we eat them with ketchup. La pompe (Chau. de Waterloo 211, Bruxelles) is a bar opened in a former filling station: it's an institution in the neighbourhood. You can go there at any time - for a coffee in the morning, to read a book in the sun, lunch or an aperitif. Le longue-vie (Rue Longue Vie 31, Ixelles) is a very nice restaurant that opened last year in Ixelles (so not too far from St Gilles) with a bistro look, fairly plain but warm decor, a large bar, open kitchens, good sharing plates and natural wine. And at Brood (Av. Brugmann 225, Ixelles), we think you'll find the best bread in Brussels! Finally, the Object With Narrative Gallery (Pl. du Grand Sablon 40, Bruxelles) was launched at the last edition of Collectible. It was established by the publishing house of the same name. It's an incredible place, architecturally speaking, and the curation features pieces by Belgian and international designers. 

I must admit that I discovered your online magazine a few months ago and was seduced by its editorial line. Seeing people living simply in their apartments is a far cry from the image we're used to seeing in decorating magazines, which are often a little too aseptic for my taste. The spontaneity that emanates from the images immediately gives a feeling of closeness that is very pleasing to the reader.

The

nesting metal coffee table for the efficiency and simplicity of the shape and the use of a single material. And the

pink side table that fits in and adapts to any interior.