The acquisition of basic skills in order to practice a trade should not constitute an end in itself. Discovering new techniques, constantly extending one’s field of investigation thus one’s knowledge represents a near necessity when it comes to the survival of a art craft firm. But it is what makes it all the more savoury. We have this thought every day since we have started as cutlers.
The knowledge of the XVII th, XVIII th and XIX th centuries cutlery requires to be extremely interested in the historical aspect of the object, which is a pleasure to us, and one is modestly made an historian by telling in his turn what one has discovered of the footnotes of history and sometimes of History itself. Thus, and as paradoxical as that can appear, the old fine cutlery is an exceptional creative support for a art craftsman, because copying is first of all to understand and like, and then only, to regain the numerous skills in order to re-use them and adapt them to the realization of contemporary works.
The combination of traditional materials such as tortoise shell, mother-of-pearl, mammoth, gold, silver, Damas steel with materials of high technology allows extremely original creative compositions. From this point of view, much remains to be made and it is a ground of almost virgin exploration there. The old fine cutlery in its broadest acceptance (table cutlery and folding cutlery with mechanisms) constitutes such a multiplicity of forms and combinations that it is literally a true “top-of-the-range artisanal culture medium”. To plunge there is to suddenly make appear in the “visitor’s” mind thousands of germs of creation. It is not here about recreating but it is about becoming imbued with an idea, a topic, a line, a detail, and this , for someone who knows how to look at it, will trigger off the creative spark.
Cocteau wrote on this subject: “Tradition is a perpetual motion. It moves forward, it changes, it lives. The alive tradition appears everywhere. Strive to maintain it with the manner of your era.” This summarizes our current work perfectly. Through their richness, the witnesses of arts and techniques of a fabulous past offer to us, because we look at them differently, the incomparable chance of again acquiring a number of skills lost for a long time or for some of them in the imminence of becoming so. And consequently the chance of preserving a unique artisanal culture, of making it known to the greatest number and of making it live and evolve within a profitable artistic activity.