Innovative Simplicity
Hamrei
“I’ve always been ambitious and of course the nature of those ambitions has changed with time. When I was a little younger my ambitions were far more materialistic; I wanted to own beautiful things — vintage cars, boats, planes, houses. Though some of these things remain on the list the priority is now lifestyle. My main ambition is to build a successful studio that stays true to its own style as it develops, that inspires others, and at the same if I can be near the sea and have time to see my friends and family I’ll be happy.” — Hamrei
The world of interiors increasingly moves at an alarming rate, with magazine editors and designers alike all clamoring for “newness”, “the next big thing”, or the “latest trend” (a somewhat tedious preoccupation that just won’t die a death), with the result that an awful lot of rubbish is produced in order to fill the void. In the midsts of pandemic misery, people became desperate to improve their inner sanctum; to iron out all those foibles encountered during months of lockdown induced incarceration. That might be anything from a new piece of furniture, at one end of the spectrum, to a complete gut renovation (for those that came to the harsh realisation that their “charming city pied-à-terre” was in fact an impractical, pokey, living hell) at the other. “Freedom day” is now fast approaching, with restrictions coming to an end, or so Boris has led us to believe, on 21 June, and for many — now furniture stores have once again flung open their doors — it offers the opportunity to hunt down those more elusive pieces that, without the visceral tactility of experiencing them firsthand, are hard to source online. Whatever it is you’re looking for there will of course be a multitude of designers all vying for your attention, trying to convince you that their own unique aesthetic offerings are the proverbial holy grail, that will transport your interiors to a level seen only in the realms of glossy design magazines and door stop coffee table tomes. If only shoppers, in their frenzy of excitement, would put greater consideration into their post-pandemic purchases, thinking about such key factors as design, quality, utility and uniqueness (not to be confused with RuPaul’s similarly pithy barometer of talent); as interiors en masse would be far much more interesting — not to risk sounding like a broken record — if people were to buy less and buy better. The collections of architects and interior designers are are often a safe, stylish bet; Pierre Yovanovitch (b. 1965) unveiled his latest “Moblier” collection last week at Place des Vosges and Charles Zana (b. 1960) produces wonderful, sculptural pieces, future heirlooms, that are sure to be passed on through the family. Of course, for many, understandably, such pieces are entirely unaffordable, in which case it might be worth looking at younger generation of designers, whose pieces, whilst still an investment (one is after all paying not only for the design, but also the quality and manufacture), are more affordable alternatives; and you might even end up with something by someone who one day will end up in the pantheon of the greats, huddled up next to the likes of Eames, Perriand and Wegner. In that vein, we spoke to a talented young furniture designer who (like Picasso, Le Corbusier and Beyoncé) would like to be referred to only by the singular moniker “Hamrei”.
Hamrei at home in Saint-Germain-des-Prés, Paris
The London List: What was it that drew you to a career in art and design?
Hamrei: My whole life has been centred on creativity. I was “the artist” at school; sketching every day, composing music since I was a child, taking the lead role in plays, travelling to visit exhibitions and even earlier than this since the day I was strong enough to push my bed around I would draw plans of my bedroom and move the furniture around once every few months. I was fortunate enough to grow up in a big house surrounded by interesting objects collected by generations of my family that had travelled and traded in different parts of the world. This mixed with my mother’s eye for interiors and the pragmatism of my father led me towards studying architecture.
You’ve been working as an interior designer at Pierre Yovanovitch; the studio has such an identifiable and unique aesthetic, do you find it impacts your own personal sense of style?
No doubt. My style was and still very much is in its formative years, however there was an alignment with Pierre in style, ideas and approach to creating that doesn’t happen very often. There was a click between us and every day we would exchange ideas on design, music, art and literature. He’s had tremendous impact and I would think also I have on him in some way though I’ve always been conscious of separating Hamrei and PY. Two separate minds and aesthetics that crossover however, remain fundamentally individual.
How did you start your own range of furniture and lighting?
When I was living in Berlin and working for Gisbert Pöppler I was young-er, excited, and at the beginning of my career. I realised that the real kick came from taking an idea from a sketch to it’s physical form at the hand of a skilled maker. Having a taste for this also led to frustration for the ideas I was exploring and working on but not producing; I needed to “complete” the whole process and that meant I needed to start making. I saved some money, sketched and planned at night after work and then met with a few craftspeople until I found one who was good enough and whom I could afford and that was how my On-Two table was born; once it was ready, I showed it to a small gallery in Berlin who offered to sell it for me… within a week it was sold and another was ordered.
Your designs always seem fresh and unexpected but with so many producers and manufacturers, and the prevalence and popularity of mid-century design, do you find it difficult coming up with new ideas?
For sure mid twentieth century European design is a slight obsession of mine; the usual culprits such as Charlotte Perriand and Max Ingrand to name a few. There have been too many late nights where I start researching historic designers and before I know it three hours have passed and I’m way past my bedtime. I don’t really pay attention to who’s hot right now. Living in two design cities London and Paris, plus the barrage of information on Instagram is a lot to take in. So from time to time I try to clear my mind and get out either to visit manufacturers who tend to be quite remote or just to escape to the countryside or another country, it’s like a reset that realigns my thoughts and ideas. I love meeting new people and talking to them about their lives and their interests whether it’s design, food, family and from time to time delving deeper and exploring a more philosophical outlook on life. I love debate, especially with someone that’s bringing their A-game and has a little fuego in them. This is where you can really get lost and then that’s where the good stuff follows.
“Core” floor light, black marble and polished nickel by Hamrei
On that note, what are your favourite pieces of mid-century furniture?
Being half Brazilian, the little latino in me has a natural affiliation towards the works of Jose Zanine Caldas (I’ll take all of his pieces) and Joaquim Tenreiro. Tenreiro’s chaise longue… material and form perfection. Caldas’ “Namoradeira chair”... so original and poetic and as beautiful now as it would have been fifty years ago. Having said that… I’d also be happy sitting in a 1940s mahogany Alexander Noll armchair at Royère’s “Quille” table. Yasss.
Which designer, artist or architect do you think has had the biggest impact on your sense of style?
It’s a tricky one to pin-point. The work of artists such as Rachel Whiteread can have as much of an impact as the numerous conversations I’ve had with my dear friend Scott Armstrong who’s designing jewellery for Chaumet or another good friend Julien Guidoni (at Louis Vuitton) who’s mind is an internal fountain of originality and inspiration. I would say it’s these conversations I have with creative friends that has the most impact. They tell it how it is, from another perspective that I value and admire. That’s what friends are for no?
You’ve recently produced some interesting new paintings, is it something that feeds into your design work, both with regards furniture and interiors, and vice versa?
Painting is another form of creative expression that I enjoyed when I was younger and recently felt that I was missing and needed to revisit. In the end I treat it quite separately to design and do it when I have the urge. But it’s addictive also. It’s been teaching me patience; to let go of pre-conceived ideas and open myself up to treading the line between executing an idea and embracing chance as the painting unfolds in a way I and had not envisioned, though that’s probably down to my lack of technical skill. My approach to furniture and interiors until now has been to develop clear ideas before making them. Of course there is always an element of surprise but never too far from the initial concept. My paintings are bright, colourful, figurative, a little abstract at times however, I would say quite different to my furniture and yet they seem to sit perfectly in my interiors and alongside my furniture. Go figure.
What’s the first important piece of art or design you ever owned?
When I was younger my grandparents gave me a carved ivory puzzle ball that my great-great-grandfather had brought back from China. It’s something that had always fascinated me. Whenever I’d taken out this object my grandfather would tell me the story of how it takes a lifetime to carve an object of such exquisite detail and complexity. Whether it’s true or not I don’t know but when you hold this small ball in your hand you can’t help but be amazed by the beauty.
Which artist would you collect if you could?
Francis Bacon! I’m obsessed. Bacon’s life is a rich story of darkness and suffering and he channelled that pain into paintings that resonate with most people. I can feel his emotions so strongly that it’s unsettling and yet I look at the colour, the brushstrokes the distorted figures and dreamlike or often nightmarish spaces and it’s a powerful thing of beauty. The guy was a deeply disturbed genius.
“Boomerang” coffee table, steel legs and a curved marble top, by Hamrei
Hamrei’s sitting room, Saint-Germain-des-Prés, Paris
Who’s your favourite artist/designer from the past 20 years?
A few years ago. I wrote my thesis on light artists in the context of spatial experience and James Turrell still stands out as one of the most awe-inspiring artists of this genre. He’s a master of harnessing the intangible and creating unfamiliar physical and metaphysical experiences. We all need a little escapism.
An object you would never part with?
My grandfather’s pipe. Objects beyond their initial physical and aesthetic identity take on a new identity through their ownership, their use, their location and can eventually come to define something or someone. My grandfather’s pipe carries all of this. Alone as an object it’s quite beautiful. The line, the wood, the lightness, the simplicity in how it functions. A 500 year old design that has remain fairly unaltered. And then there is the patina on the wood from where he held it each day, the smell of the tobacco I would smell every time I entered their house. I think of him and I think of the pipe, and vice versa.
What was the last thing you bought and loved?
I’m trying to buy less and only spend if I love it although it’s easier said than done. I bought a pair of small mirrors by glass artist Kiko Lopez from Galerie Jacques Lacoste which I definitely didn’t need and at the same time had to have. It was love at first sight though even it turns out love comes at a cost.
Something you have your eye on?
When I was a child I was interested in precious stones … this interest has recently started to stir again. It’s not the value that interests me but it’s the rarity of such tiny moments of perfection and incredible beauty that occur naturally underground and then millions of years later reveal themselves to the world. I mean … wow! My boyfriend’s work is related to this industry and my good friend Julien shares this fascination (though he’s undoubtedly next level). So, I have my eye on a sexy stone to make a ring that I’ve been designing.
What’s the best gift you’ve been given?
My ex once organised a surprise birthday for me with my friends and I was genuinely surprised (I cried). That’s a pretty great thing to do for someone. The surprise, not the making them cry.
What’s your favourite room in your apartment?
My bedroom in Paris! It’s a light blue room with darker blue door frames, located on a quiet street in an old Saint Germain apartment with a working marble fireplace at the foot of my bed. Lying in bed I see the sky, the fire, some objects and furniture I’ve been given by friends and family and others that I’ve bought myself. And on top of all of that it’s where the magic happens.
The site that most inspires you?
When I’m in Paris at least once a day I’ll pass through the garden at Palais Royale and if I have time I’ll sit by the fountain and have a coffee. That place is magic. Time stops. People relax. You forget about the city around you. And it’s where all the Bourgeoise old ladies walk their perfectly groomed dogs. A sight in itself. Perhaps the most beautiful place in one of the most beautiful cities in the world.
Where’s the most unforgettable place you’ve travelled?
When I was nineteen I drove — I say I drove but was the only one without a license — from London to Mongolia with three friends; I got to drive a small stretch in the dessert when no cars (or road) were in sight. The list of unforgettable places is long though I’d say two places that standout are the Mongolian Steppes … vast, empty and staggeringly beautiful. The peace of staring to the horizon and being totally alone for as far as you could see as the sun sets is pretty unforgettable. Secondly would be the Door to Hell in Turkmenistan. A huge collapsed gas crater in the middle of the desert, that’s been alight for nearly 50 years. I’ve never seen anything like it. At night the sky glows as you look down into a huge fiery pit. It all feels very Tolkien.
Where would you like to go next?
I’m keen to explore South and Central America. For food, colours and nature I’d love to travel from North to South and see the gradual shifts in cultural identity across the continent. Patagonia is definitely top three and then of course Brazil! All of it. Time to discover my roots.
What’s the best souvenir you’ve bought home?
Last year in Capri I met my partner on the rocks at La Fontalina and fell in love at first sight. I’d say he’s probably the best souvenir I’ve brought home. I will forever love La Fontalina!!!
Tell us about a recent “find” ?
In London I recently found my favourite coffee place. It’s been around for a while but new to me: HR Higgins in Mayfair. Roasting their own and making the tastiest cup of Brazilian blend I’ve had for a long time. Yum. The place is small, charming, steeped in history, smelling incredible. And right next Popina; a great place for eggs. And then I’d say Lisbon. I’m a little late to the game but only just starting to discover this city and I’m in love. The people, the climate, the food… it’s all so laid back and easy. Great vibe.
If you didn’t live between London and Paris, where would you live?
My last answer gave it away. Lisbon is calling me! Portugal has a strong culture of craftmanship — especially with furniture making — and on top of that, the people are kind, down to earth and beautiful. The beaches and the sea are a central part of everyday life… the main thing I’m missing in Paris and London… life is so laid back there. Let’s see what the future brings but for sure there will be space for Bacalhau.
If you had to limit your shopping to one neighbourhood, in one city, which would you choose?
Saint Germain! My home in Paris for the past two years has been the left bank, in between the Louvre and Musée d’Orsay. It’s old school Paris with everything you need. You have the most beautiful streets in the city lined with bookstores, some of the best galleries, great vintage dealers, big boutiques, independent labels and then of course the iconic places like Café Flore to take a timeout. Saint Germain is the Paris you read and dream about before you’ve even visited. It’s real life Emily in Paris.
What’s your biggest indulgence?
Ten minutes with my morning coffee. In London and Paris I have a go to reliable place in each area I frequent — do people still say that?. The French are infamous for their coffee making ability but that seems to be changing slowly and I’ve found a couple of places that are worth the walk. In London it’s easy to find somewhere. I’ll take an oat flat white, find a calm place to sit outside for ten or fifteen minutes, take the sun, relax and then I’m ready to go. It doesn’t sound like much but an oat flat white in central Paris/London costs the same as a miniature by Lautrec.
What’s the best book you’ve read in the past year?
Hemmingway’s 1926 “Fiesta: The Sun also Rises”. I’ve read it a few times but it never gets old. I always read it at the start of summer, and sometimes at Les Deux Magots which he frequented in Saint Germain. There are struggling artists, early twentieth century Parisian life, train rides through Spain, love affairs with bull fighters ... it’s short, easy and did I mention love affairs with Spanish bull fighters? Each time it puts me in the mood for the summer ahead.
What would you do if you didn’t work in design?
There are so many other different design industries I want to explore from jewellery to boats however, if it wasn’t design in any form then I might go back to my early ambitions of becoming an actor. At eighteen I was torn between the decision to go to drama school or study architecture … I chose the latter and the rest is history though the little performer lives on deep down.
Ambition or talent: which matters more to success?
A healthy dose of both though perhaps ambition tips the balance. It’s clear that today the tools for success don’t just rely upon talent and a lucky break as they may have done in the past. Finally the way you market yourself, the people you approach and the reach are all tools to success and that’s before you’ve maybe even produced a product. I see more and more designers relying on CGI of their designs as a means to produce content to put out there. It doesn’t take a huge amount of a designer’s talent to generate a beautiful/desirable image but it does require some to take it through to fruition.
What ambition do you still have?
I’ve always been ambitious and of course the nature of those ambitions has changed with time. When I was a little younger my ambitions were far more materialistic; I wanted to own beautiful things — vintage cars, boats, planes, houses. Though some of these things remain on the list the priority is now lifestyle. My main ambition is to build a successful studio that stays true to its own style as it develops, that inspires others, and at the same if I can be near the sea and have time to see my friends and family I’ll be happy.
What’s the greatest challenge of our time?
Climate change! It’s probably the greatest and most immediate challenge we’re facing. I’m always keeping it in mind as I produce designs. Furniture production and transport is a huge contributor to pollution and non-biodegradable waste and so step by step I’m making more and more choices in my process to try to change the way interior and furniture design is at the moment. Whether it’s sourcing locally, omitting animal glues, working with carpenters who self-heat their workshop and who happen to be vegan. These are just a few conscious decisions taken but it’s just the start. It’s a message I want to push from within Hamrei to the world.
What’s next?
Everything! At the start of July this year I will have left my position managing projects for Pierre Yovanovitch to go solo and at long last be fully focused on Hamrei. So what’s next … collections, collaborations, creating beautiful spaces and furniture, painting a lot and making people happy and spreading good vibes through doing the thing I love most. It’s the first time I’ll have the reigns fully in my hands so let’s see where it takes me.