After a successful debut at the 2016 edition of Maison & Objets, Haymann Editions is growing into becoming the French reference for elegant and affordable furniture. Simple forms, noble materials and aesthetic coherence characterise its collections –furniture and lighting. We met with David Heymann in his showroom to talk about his company and his passion for design:
Where did the idea of creating Haymann Editions come from?
It came from the desire to change my life. I worked for a long time in IT and retail, but deep down, without even knowing it, I was attracted to design. Every year, I would visit Maison & Objets and meet likeminded people; I would see furniture that I liked and think that it would be nice to work in this field. Furthermore, my mother had a few shops of home furnishing fabrics (Souleiado, Pierre Frey,…) so in a way I was surrounded by design, but for a long time I forbade myself to follow in her footsteps. Then, everything accelerated the day I realised that I didn’t want to work in the retail sector for another 30 years, and I changed course. While on a vacation in Brazil, I saw in a hotel some Sergio Rodriguez’ chairs and I fell in love with them. So I tried to meet him as I wanted to distribute his creations in Europe. At the same time, I contacted Jacques Barret, the owner of Galerie Triode in Paris, a specialist in American design, and I had a long talk with him: he helped me to see more clearly and understand that I wanted to create my own company.
How did you get started?
I was a neophyte! But I had the chance to meet Toni Grilo, a Brazilian designer based in Portugal: I went to see him in Porto in 2011, I spent a few days with him and at the end I asked him if he would design a collection of about ten pieces….
This first collection (which includes the d’Artagnan chair, the Marie lamp,…) was stylish and coherent, and was immediately successful. After this first collaboration, I set my mind on colour and glass, so I contacted Dan Yeffet and Lucie Koldova: they liked the idea and we started our collaboration. And so on: at each new step, a new encounter and a new collection.
How do you choose the designers?
It is often a matter of affinities and understanding one another, sometimes it’s like a passionate discovery… I meet a designer, I love the work, we talk, and we share a certain vision and aesthetics… thus begins a collection.
Can you tell us about your approach to revive the French tradition of ensemblier….
It’s all about a desire to create coherent sets, I don’t want to showcase just a few anecdotal and very different pieces… In short, I want to create a recognisable and coherent aesthetic, a little like the great Italian brands.
Have you always been a fan of design?
I would not say a fan. I did have an eye for it, I liked beautiful things, but I wasn’t a collector, nor did I have a design culture… On the other hand, I started early to commission some design pieces: for instance, 25 years ago, I commissioned a 7-branch candelabrum from Olivier Gagnère as well as a couple of small bronze lamps… In a way, I was already doing what later became my work as “éditeur de mobilier”
What do you like about The Invisible Collection?
Their approach, the fact that they offer beautiful furniture created for specific projects, which by definition would not be manufactured again. That’s what I wanted to do, and The Invisible Collection does very well. I was seduced by this idea and by their high quality image: I really like this new collaboration.
