Creation of the ibride house
In 1996, ibride was born in Fontain, France, from the family trio of Carine Jannin, Rachel and Benoit Convers. From the very beginning, self-edition allowed the design house to create singular and poetic objects inspired by nature and the animal world.
Collaboration with major brands
Soon, ibride acquired new know-how by collaborating with prestigious brands such as Kenzo and Habitat, for which it designs and supplies tableware, lighting and other accessories.
Return to independance
the design house made a creative shift and put an end to collaborations in order to flourish in independence and free itself from codes. The two years that followed marked the launch of three collections that had become emblematic.
ibride then became aware that innovation was a vector of freedom and invested in a production tool in 2013 to become a manufacturer. The company includes in this new organization the local suppliers and subcontractors with whom it has been working since the beginning.
Projets et collaborations
This operating mode now allows it to address the HoReCa market and carry out tailor-made projects. Recently, several collaboration and editing projects have been carried out, in particular with the famous Thyssen-Bornemisza museum and designer Constance Guisset.
Advocating the exact opposite of the traditional idea of business, Carine Jannin has made choices that have led the brand along an enlightened path – that of the human. She is not a conventional Company Manager– even before it was fashionable to establish an open management structure, she encouraged collective intelligence and preferred to empower members of her staff. Behind her, the pack is organized in one and the same movement. To observe Carine Jannin is to note a sincere interest in other people, an unconditional commitment to the design house. It is to realize, even before a single word has been spoken, that sincerity is not an evil defect. It is also to become aware that indeed audacity, authenticity and singularity are always more profitable than opportunism or following trends. It is simply to trust. And that is rare.
She has a certain discretion, a way of behaving that is marked by a profound respect, as if expressing a form of humility before the primacy of the world. Rachel Convers seeks supreme beauty, no doubt knowing that it is unattainable, a quest for perfection that leads her to constantly explore. Whether it be through colour or drawing, she strives to find the spark, the small amount of light, that tiny nothing that will literally give life first to the image and then to the object. Her gesture as a designer has to do with intention, attention, intuition and above all the desire to signify life. Rachel Convers reinterprets, restores and reinvents all forms of a common cultural heritage in order to invite the gaze to turn towards what has come before – nature, the essence of which we are all made up.
It takes no more than a few moments of observation to see that music has fulfilled Benoît Convers, giving him a different way of seeing the world. He considers creation as the mother of all questionings, as the conveyor of doubts which will contribute to the improvement of the finished article, as a vector of sensibilities, whether they be his own or those of other people. Each idea bears a meaning which is served by form. “What I love is the moment when ideas come together and blend with one another to make a coherent whole,” he will say. Benoît Convers sets himself restrictions, solves problems, exhausts existing forms to create new ones and, above all, considers design, the conception of objects and their fabrication as a profoundly empathetic discipline. For isn’t the creation of a painting, a text, a song or an object above all making a gesture towards someone?
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