Pierre Daems

Pierre Daems

Looking at the June collection is looking at a piece of history. The June became an intuitive amalgamation of Pierre Daems' past, and the start of a new adventure.

Discerning viewers will see 1930s art deco in the graceful J-shaped leg and terrazzo tabletop. The massive, basic shape, a rectangle resting on top of the J, comes to use from this century. It comes as no surprise therefore that designer Pierre Daems claims to have drawn inspiration from both design languages. 

"I spent part of my teenage years among art deco architecture in Brussels. Even though I was not yet working as a designer at the time, I still subconsciously recall those exquisitely detailed entrance halls. When I started working as an interior designer at Obumex, I learned about warm minimalism. June became an intuitive amalgamation of my past. I feel like I've entered a new stage now. A new balance, which will undoubtedly lead to more designs." 

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His co-operation with Van Den Weghe also goes back a long time. You have been finding each other for over a decade. 

"In my experience as an interior designer, the company and its people are passionate,professional and, above all, very reactive. Van Den Weghe invariably delivers on expectations. The June collection is a reaffirmation of our excellent relationship. It was more than just enthusiasm. Tanguy, Alain and Timon created a framework that enabled my success, as a designer. A context that respected artistic, technical and production needs. By listening to each other, and sometimes also keeping each other in check, we arrived at an end result thatwas right on all counts." 

It sounds like you two also get along very well on a human level. 

"Indeed, but also as art lovers. When I visited Van Den Weghe, I immediately sensed a heart-felt passion for the arts. The large collection of contemporary artworks in the building speaks volumes. It's like walking around in a museum. And I feel like a kid in a candy store in the Van Den Weghe laboratory: an abundance of textures, colours and materials" 

The June side table is available in 4 terrazzo colours, with a metal, stainless steel or brass finish.How much of that choice was deliberate or coincidence? 

"The design first took shape in a hotel room, when I was traveling with my son Henry in Bologna. That city not only has vast palace floors, but even pavements made from terrazzo. But it started with the letter J. I noticed it in a logo at the time, and now it is recessed, 8 millimetres deep, in the tabletop. In choosing terrazzo, we also took account of our footprint. The material is ecological,because of how it is manufactured. But we also made changes, in the course of developing June. Originally, I wanted to have the base milled from a solidpiece of natural stone. To minimise the impact, we eventually decided to castthe whole thing. I think it's great that this doesn't detract from the artisan character of the furniture collection. Because of the manual techniques involved, every June is different. For example, the leg is bent by hand. It's a custom-made object. You can see and feel that."

You are an experienced interior designer and product designer. How are they different to you?

The approach is similar, whether it's for an all-in project or a piece of furniture. The difference is that, as an interior designer, I know the client personally. As a productdesigner, I cannot put a face on the end client. However, this collection, which consists of the June side table, the slim June350 coffee table and the solid June300 console is very versatile. It's a subtle balance of styles that will fit into any luxury interior. Because of my experience, I'm not afraid to rely on my intuition. What's more, the element of surprise also adds excitement to the design process. If all the pieces fit, it's challenging, in fact."  

For all inquiries: contact@pierredaems.com

Instagram: @pierre.daems

Website: www.pierredaems.com

Pierre Yovanovitch

When I am working on a project, the frame and the surroundings are always a source of inspiration. I could never design an interior in New York or Tel Aviv the way I would in Paris, Zermatt, Comporta, or The Hamptons.
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