AbonnéArt & Design

Back to beautiful craftsmanship

By Aymeric Mantoux25 mai 2022

For long, manual labor, artisanship, was disregarded. Today, it is glorified. Magazines, podcasts, films, fairs, and prizes celebrate it. And luxury houses as well. We analyze the reasons for this phenomenon.

More and more contemporary artists are joining forces with art craftsmen, ceramists or ironworkers, porcelain makers, lacquerers. This capillarity allows manual work to return to the forefront, after having been discredited for a long time. (Zenon_MBS)

I had had the opportunity to meet many craftsmen and to visit ateliers of great houses, and I had the feeling something was missing, at the crossroads of journalism, contemporary art and manual work

Yamina Benaï, co-editor in chief of Geste/s

On April 18th, the crowd filled the terrace of the Beaux-Arts group, between Opera and Madeleine in Paris. They came, they were all there. Not to celebrate the first Spring evening, but to celebrate the birth of Geste/s, a luxurious publication dedicated to links between craftsmen, traditional savoir-faire, and contemporary design. Art critics, galleries, luxury brands, all were brought together by Emmanuel Rubin and Yamina Benaï, co-editors in chief of this new one-of-a-kind publication. The offer: a showcase of the road of glassmakers in the East of France, an interview with Johann Creten or even a watchmaking manufacture visit. “I had had the opportunity to meet many craftsmen and to visit ateliers of great houses, and I had the feeling something was missing, at the crossroads of journalism, contemporary art and manual work, says Yamina Benaï. Proof that I was not alone, the feedback is very good and the subscriptions are growing.”

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In 2018, the journalist sees the premier in Venice of Homo Faber, an event created by the Swiss foundation Michelangelo for creativity and artisanship, launched by Johann Rupert and Franco Cologni, two historic leaders of the Richemont group. She then looks at the work developed by the Bettencourt Schueller foundation for hand intelligence (created in 1999 by the owner of L’Oréal and her family). “The annual prize they created make them the first private actor and first patron in the sector, continues Yamina. As of 2015, it has been further highlighted. The modern axis chosen by the winners is interesting.”

During the 1980s, art craftsmanship is of no interest

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