As we all spend more time at home, we might find ourselves tuning in to the digital sphere for inspiration now more than ever. Whether it’s for pure escapism or to fuel future plans when coming out on the other side, the creators of the world can keep us feeling engaged and inspired.
Paris-based creative design studio Argot has us dreaming of another time and place with her soothing Instagram feed which is an amalgamation of light, form and shadow. Founded by Irish designer Eimear Ryan in 2018, Argot Studio explores spaces and the objects that fit within them. The studio’s projects span art direction, spacial design and scenography as well as creating unique furniture and objects. Looking ahead, Studio Argot plans to continue to explore collaborations with designers and artists with complementary outlooks.
Tell us about the concept behind Argot Studio.
Argot was born during my time working for a design company as an interior designer. Like many, I was frustrated working for someone else and was dreaming up my next move. The image of what Argot would be was never, and still, isn’t fully formed. I want to stay flexible and open to possibilities, and I want to move forward together with technology and new sustainable practices.
How would you define your style?
I think it comes down to the contrast of sharp structural shapes and forms with soft aspects, whether it be a soft colour palette or an organic element. I like to think I go through phases and try new things but there’s something underlying there that never strays too far. It’s across the board in my life, how I dress myself, my apartment, and what I design.
Where do you look for inspiration?
I think without realising it I’m inspired by Paris where I live, and even more so the French countryside and the great brocantes (flea markets) they have there. More and more I’m inspired by nature at home in Ireland, I’m really intrigued by the relationship between nature and design and what’s coming next in terms of sustainable homes and spaces.
Are there certain colours, textures or other visual forms that influence your work?
I like mixing harsh visual forms with soft colours or textures. The ‘Phelim collection’ draws on brutalist forms but made with solid oak which brings warm and tactile qualities. With the vases, it’s the contrast of an often organic shape with the tech printed element.
What do your works represent?
I hope for my work to represent design moving forward with technology to create beautiful sustainable design. 3D printing doesn’t have to be plastic and ugly, and that goes for new design technology to come. I love working with my father utilising his craft and knowledge in woodwork, and in future projects, I’d like to find a way to fuse both of these when creating something new.
You collaborate with 3D designers to bring your products to life within digital interiors. Can you tell us about this?
It can be very frustrating starting in design, as you have so many ideas and are essentially unable to realise them due to cost, time etc. I really love to work with 3D artists as they can bring everything to life! Platforms like Instagram enable us to find like-minded designers with complementary skills, which is how I started working with artists like Stefano (@stefo_rotolo), Cristina @ccmrdesign and Ana @as2_3d. It’s amazing to collaborate with people from a distance and to see how they interpret your space and aesthetic using their own skills to create an artwork.
Have you got any new projects coming up?
I really love to collaborate with a variety of people. I’ve recently designed a new collection of vases for Batch.works in London, they will be producing and launching the collection really soon using different 3D printing techniques to my own, so I’m really excited to see how that turns out.
I’m looking forward also to the launch of my new furniture in Plywood made by my father along with the other collaborations we have coming up in Paris with artists and brands.
Written for Trendland by guest contributor Kylie McDowell.