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Ambroise Maggiar:
“One of the key challenges was the seat’s ergonomics. The President of the company, with a very sharp eye, simply said, “The chair must be comfortable — which means it must have a metal sheet seat.” That ruled out the usual wire-only seats that require a cushion. This decision impacted not only comfort but also the aesthetics and technical development.
Another challenge was the industrial optimization. The rods had to be identical to simplify production — same thickness, same curve. We played with spacing, positioning, and integrated the rods under the seat to hide welds and save on finishing. Every decision had to balance elegance and cost-efficiency. We developed around 4–5 prototypes to get it right.”
Ambroise Maggiar:
“There’s always a tension between adapting to a brand’s aesthetic and bringing something new. With infiniti, we had already agreed on references and materials, so it felt natural. What I admire about their products is the consistency of silhouette — not just styling, but structure. I focused on shadows, profiles, and the graphic identity of the chair.
For example, the Diane chair’s armrest was designed to look integral — not as an add-on. It’s a continuous shape that feels like it was either “cut out” or left in. That required a lot of technical effort, but it created a logic and purity in the final form. And when you see 10 or 20 Diane chairs in a row, the rhythm, the repetition, the lightness — that’s what really gives it character.”
Ambroise Maggiar:
“Diane came from a mix of references. Part of it relates to the Citroën 2CV, part to early 20th-century French aesthetics, and part to nature. To me, it feels floral, industrial, and poetic all at once. The name is easy to pronounce and has an international flair — graphic, elegant, memorable. It embodies the chair’s character: refined but not precious, graceful yet accessible.”
Ambroise Maggiar:
“Yes — Diane is part of a full collection I designed: chair, armchair, high stool, and tables. It’s made for the contract world, where backrests, stackability, and comfort over long durations are essential. I knew bar stools with back support were important for hospitality, so I included them from the start.
infiniti’s in-house production capacity makes development faster and more precise. Our collaboration took 18 months from idea to launch — a great timeline for a first project. I’d love to keep working with them, but it always starts with a conversation. Maybe infiniti will show me a new material or machine — that’s often the spark.”
Ambroise Maggiar:
“The ability to dive into something new every time. One day it’s a lamp, the next a kitchen appliance or a chair. I love understanding industries, technologies, limitations — and translating that into meaningful objects. I’m not an engineer, but over time you develop a sensitivity for processes and constraints.
Even within the same technique — like plastic molding or laser cutting — you find different challenges based on scale, context, and product. That’s what keeps me curious. I’ve even experimented with 3D printing, though it’s not quite fun yet — it’s still in the prototyping phase. But I’m always on the lookout for new materials and processes that can inspire the next story.”
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