The new Yuan Eden is the result of the first encounter between the ibride maison and a museum. It also represents the first opportunity for the emblematic collection of “Faux-semblants” (“Make-believe”) creations to set up a partnership between classical painting and contemporary creation.
The Thyssen-Bornemisza museum, situated in Madrid since 1992, owns the largest private art collection in Europe. As for the French design house ibride, it aims to share with the museum its deep artistic roots by proposing audacious personal creations. When the museum requested ibride's collaboration, the meeting between artists and a prime location of culture was immediately inspired by the common desire to honour classical painting with a particular creative style. Thus, the museum opened up its exceptionally rich collection of works of art, allowing Rachel Convers the freedom to reinterpret, in contemporary fashion, paintings of her own choice.
« I first got to know ibride years ago during the Maison & Objet fair and for me it was a case of love at first sight — both for ibride's creations and its very unique universe. Of course, I was delighted to find out that the Thyssen-Bornemisza museum and ibride were going to work together. It's a dream opportunity to celebrate art and spread its influence all over the world by enabling us to open the museum's doors to a world-wide audience. Ana Cela, head of publishing at the Thyssen-Bornemisza museum
This project has aroused great enthusiasm amongst the whole of our team and, in particular, amongst the designers who are particularly fond of the museum. And this is for a very good reason — the Thyssen-Bornemisza museum is the first museum that Rachel and Benoît Convers visited years ago during a study trip.So, having been, to a certain extent, caught up by destiny, Rachel Convers has re-interpreted the feeling of euphoria she experienced upon her first visit to this museum by creating tiny white butterflies which invite museum visitors to shift their gaze from one work of art to another.
The Yuan Eden dinner service tells the story of a magic garden, where subtle creatures encourage us to fly over mysterious golden fruits and lightly touch almost naked bodies.To create this new centre-piece of the “Faux-semblants” (“Make-believe”) collection, Rachel Convers drew her inspiration from a number of sixteenth-century artists. Starting from a variety of works of differing styles, the previously frozen, individual portraits blend together to form a large single image which unfolds once the dinner service is laid out on the table.
For the set of dinner plates, she let herself be carried away by the portraits of women by François Clouet and Giovanni Antonio Boltraffio as well as a painting by Jan Gossaert. The designer proposes an ode to beauty with her transcription of the sensuality of naked bodies inspired by the works of Hans Baldung Grien, Maduse and Cranach l’Ancien. As for the decoration of the salad bowls, they are inspired by a still-life by the famous Dutch painter Willem van Aelst.
Just like a jig-saw puzzle, Yuan Eden invites us to discover and piece together the museum's masterpieces.