L’Empreinte — “The Imprint”

I wanted to explore the relationship we build with the objects around us — the marks they leave on us, and the marks we leave on them.

I started with François-Thomas Germain’s Coffeepot, made in Paris in 1757. What interested me was not only its form, but the world it represented: a time when rituals such as drinking coffee, serving and displaying silverware were surrounded by extraordinary care, craftsmanship and ceremony.

That made me think about our rituals today.

We listen through headphones. We gather around speakers. We work through laptops. We communicate through phones.

The objects have changed, but we still build habits, memories and relationships around them.

What if that same care, refinement and presence were applied to the products surrounding our lives today?

Rather than reproducing the coffeepot, I wanted its design language to leave an empreinte on a new generation of objects. Its flowing ornament, polished silver, sculptural curves and sense of preciousness became the basis for a collection of headphones, speakers, phones and laptops.

The aim was to imagine another evolution of modern design — one where ornament had never completely disappeared, and where technology could still feel crafted, emotional and precious.

Explore the full FLORA project here: https://app.flora.ai/view/js7b1ngr9rm9d9v0cv3vzc6tkx8dvnrf

I’ve also included a process video showing how the idea developed from the original reference into the final collection and world.

Instead of placing the objects inside a cold technological setting, I built an environment around stone, natural textures, open space, light and the sky. The tree-like elements and blue-and-white opening above connect the space back to nature, contrasting with the polished technology and making the environment feel more grounded and alive.

The people complete that world. They are different, but their gestures overlap: listening, working, communicating and sharing sound. Their presence shows how these objects become part of the body, the room and the rituals that connect us.

That is ultimately what L’Empreinte represents:

the trace history leaves on design, the trace objects leave on us, and the trace we leave on them in return.

A collection imagining what might happen if the refinement of the past became part of the design language we still spoke today.

Created with @FLORA for the FLORA Museum Challenge.

Original work: François-Thomas Germain, Coffeepot, Paris, 1757 The Metropolitan Museum of Art

Amazing approach and design work!

A Samurai, but in Tokyo 2026 🪭⛩️

Her armor dates to 1689. Her commute is the Yamanote Line.

For the FLORA Museum Challenge, I started with two works from The Met’s public-domain archive: a rare suit of samurai armor and a katana with a 17th-century blade and 19th-century silver mounting.

The armor follows a design by Noguchi Tō’emon Zesai, one of the last designers to focus on practical combat use before production shifted toward ceremonial display. The sword’s mounting, by Iwamoto Kansai, is decorated with waves, fish, and aquatic plants.

What stayed with me wasn’t just the craftsmanship. It was the idea of a warrior outliving the world she was trained for.

So I imagined the armor’s original wearer still alive in Tokyo, 337 years later.

She rides the Yamanote Line, drifts through Shibuya Crossing, loses at mahjong in Golden Gai, and steps in without hesitation when someone needs her.

Not cosplay. Not a descendant. The same samurai, in a different century. Still armed. Still capable. She just never stopped being who she was.

Built and edited entirely on the FLORA canvas.

Original works from The Met:

Armor (Rokumai-Dō Gusoku) with Box — late 17th century; cuirass dated 1689: https://www.metmuseum.org/art/collection/search/894743

Blade and Mounting for a Sword (Katana) — blade, 17th century; mounting, 19th century: https://www.metmuseum.org/art/collection/search/21891

Public FLORA canvas: https://app.flora.ai/join-project/80a41dc8-8cde-4cf5-aeb2-b4cbd1e9883d

the GOAT