Anne and Vincent CorbièreTextiles / Sculptures / Furniture
The textiles I create begin with the yarns and colors I select, guided by how I imagine they will be applied - a curtain, a chair, a panel for a cushion or a screen...The visual and the sensual, the character of the fibers (silk, linen, mercerized cottons, vinyl, high tech polyesters, rattan, gold and silver, cashmere and baby alpaca), combined with the weave structure - which like a recipe is the ultimate marriage of the ingredients - all play a role in the choices I make each time I create not just a design, but an actual physical cloth.
It is always exciting and surprising to discover on the loom how the different parts have come together in a new material.
Textiles and furniture
Our joint creations are the result of a continuing dialogue. We share, one with the other, a vision, a direction for each new piece. Then follows our research and the exchange of our respective propositions until we agree on the personality of our new project, at which time we each pursue our part of the work.
My preferred woods are indigenous to France: walnut, oak, pear, linden, and alder.
All of the colors I choose for my designs are either natural or created through oxidation, a technique I researched from historical documents and which consists of transforming or enriching the natural tannins in the wood to create enduring luminous colors.
Most of my pieces are waxed, sometimes after applying a preliminary protective coat.
The metals I prefer to work with are brass, bronze, or iron, often waxed like the woods.
I sculpt walnut, pear, oak, beach, hew, alder, and sometimes ebony. I seek to discover and respect the character of each piece of wood - this often means composing with their marks and blemishes, which make them more rare and precious.
My intent is to reveal the inherent forms within the wood.
Textile and Fashion
Working with high end and luxury fashion is a rich exchange of possibilities, as I bring my ideas and research to meet the visions of the designers and the demands of the house identities.
In founding V&A Company, Anne and Vincent's intention is to produce commercial collections, parallel to their artistic, "one-off" creations.
The structure of the company allows them to launch projects such as textile collections, accessories for interior decoration, and cushion collections, as well as to collaborate with or finance designer/artists whom they admire.
The first project they created together for V&A is a collection of window shades, called ""les jalousies."
A hand-woven shade collection conceived by Anne and Vincent Corbière for V&A Company, combining sustainably grown rattan with elegant, decorative yarns purchased in Europe, resulting in a luxurious, eco-friendly design, completed by the option of carved valences and ballast bars.
Anne Corbière and Antoinette Roze chose the name Roze d'Anjou to represent their collaboration of textile design and production for interior decoration.
The "Jean Roze Soieries,” currently under the direction of Antoinette Roze, and founded in the 17th century in Tours, is the last silk house in the region. Renowned interior decorators, historical monuments throughout Europe, and local chateaux seek the high-end jacquard silks that are produced at Jean Roze Soieries using centuries-old archives and skills.
The collaboration between Anne and Antoinette began when Anne asked Jean Roze Soieries to produce a very difficult metal fabric she had conceived.
Inspired to explore their combined talents in the realm of silks and other noble fibers, Anne designed "le Jardin des Simples,” a collection of bright-colored, yarn-dyed, heavy silks in a variety of textures; it is marketed under the name: "Roze d’Anjou" and produced by Jean Roze Soieries. This first collection is available through showrooms in Paris, London, and New York.
Our shared inspiration is nurtured by our mutual and respective cultural references, by the materials we use, and by what we know intellectually and what we know how to do with our hands. Our creative vocabulary emanates from our appreciation for different periods in time — both past and contemporary — but also from our travels east and west.
The shapes, contours, and textures of our work result from the world we observe and the research, which it inspires us to pursue.
Our production is both creation and craft.
We exchange and share our ideas with each other, and what we create is often the fruit of this dialogue.
A favorite reference is "Orlando" by Virginia Woolf, that multifaceted man/woman who lives many lives through many cultures and periods in time. We imagine together the objects and the works that Orlando would have collected through his/her wanderings through time and space and gender. Perhaps this shadow presence allows us to go places we would otherwise have never known or seen.
Our quest is unabashedly for beauty.
Anne weaves compositions of textures and colors, telling stories in a deliberate and graphic manner, a la Hans Hartung, or more spontaneously, in the baroque style of a Peter Greenaway decor, exploring punctuation, rhythm, brocades and random inclusions.
She is fascinated with the effect of light play — be it with natural light and transparency or through touches of shine — and of light caught or reflected.
Vincent is inspired by the expression of movement — how to communicate movement and give it a visual force and presence in the objects he creates. He invests his finished pieces with the essence and vitality of their function.
He sculpts and elaborates their surfaces, sublimating the nature of the woods he chooses or the metals he shapes, and playing with the alchemy of oxidized colors and refined natural finishes.
Anne began her early apprenticeship of sewing and needlework, and first discovered weaving, with her mother and grandmothers, growing up in the northwest of the United States.
As a child she discovered European culture, and the rich visual arts from centuries past contained in its museums and cathedrals, when her family lived in Great Britain for a year.
After studying French literature in Seattle and Montpellier, she began working in costume shops in the Bay Area, then London and Paris. These experiences allowed her to pursue professionally her passion for making beautiful things and continue a hands-on apprenticeship in art history through the diverse stage and film productions she worked on. Importantly, she also discovered the world of fabric dying, which was the beginning of an intimate relationship with textiles and color. Anne was the dyer on the epic production of the "Mahabharata" by Peter Brook, and assisted Christian Lacroix on numerous productions for opera and theater.
Anne’s growing desire to conceive and create textiles led her to apply to the ANAT (l'Atelier National de l' Art Textile, now a part of l' ENSCI) in Paris, where she specialized in woven textile design.
Her first clients were in the Haute Couture and luxury fashion houses: Christian Lacroix, Christian Dior, Chanel, Givenchy, Balenciaga, and Roger Vivier.
Today, and since the beginning of her collaboration with Vincent, Anne’s work is more focused on interior decoration and architecture, leading her to collaborate with Peter Marino, Chahan, Muriel Brandolini, Muse Enterprises, Jacques Grange, Michael Smith, and Demisch-Danant, among others.
Parallel to her personal work in textiles, Anne has founded an association with several colleagues, l'Atelier du Haut Anjou, which offers training and initiation in diverse textile arts.
She is also a lecturer at IFM (Institut Français de la Mode) in Paris.
Vincent is inspired visually by his childhood in Nîmes, where vestiges of antique Greece and Rome are omnipresent. His aesthetic combines a sophisticated archaism with contemporary elegance, his sensibilities influenced by the pure lines of classicism.
Vincent was trained as a young man by the esteemed medieval French crafts guild, the Compagnons du Devoir, in Nîmes and Montpellier, learning their time-proven skills and techniques of woodworking and furniture making. Later he pursued classical guitar making at a specialized college in London, inspired by his own passion for creating music. Upon his return to Paris, where he established his first workshop as a luthier, Vincent continued his artistic exploration: drawing, painting, photography, sculptures. He learned the subtlety of colors working on the background decor for photo sessions with Serge Lutens.
Finally Vincent, increasingly drawn to creating furniture and sculpture, began researching and producing his first pieces. He showed his work to Pierre Passebon and Jacques Grange in 1992. It was the beginning of a collaboration, which continues to this day. Pierre was instrumental in recognizing Vincent's rich vocabulary of forms and finishings, his sublimation of the woods he uses, and his keen sense of proportions.
Vincent presented his first solo exhibit at the Galerie de Pierre Passebon in 1993.
The exhibits, which he presented with Anne in 1998 and 2006, established them as a design duo and inspired commissions and collaborations with numerous decorators (Jacques Grange, Peter Marino, Alberto Pinto, Michael Smith, Muse Enterprises to name a few), as well as purchases by private clients and collectors.
In 2011, Vincent and Anne met Renaud Vuaillat, who opened his Twenty First Gallery in the Highline/Chelsea quarter of Manhattan, where he now shows their work.
L'art en scène
L'un sculpte, l'autre tisse
En Provence, une vraie liberté de tons
Les coulisses de la haute couture
Weaving Textural Delights
Le virtuose des meubles
Complicités en tout genre
Town & Country
Show & Tell