Throwback on our tiban distributed by @tiban.fr It is the very first piece of furniture we designed in 2015, a hommage to the « cunning intelligence » of creole community to fabric their own furnitures. When we started this project, we decided to produce the tiban in « pwarié péyi » and local rose wood and discarded the mahogany wood since it had a more classical and colonial connotation in our mind. In 2017, when we launched the second batch of tiban, we decided with Christophe — the founder of TIBAN — to produce some pieces with the mahogany wood. We were very surprised to see how the « modern » shape of the object can transform the perception of this connoted material : an intense color and right surface treatment that pops up and reveal it beauty. We just wanted to share those new images with you. — Based in Guadeloupe, TIBAN is the first Guadeloupean brand celebrating histories of creole furnitures. The tiban is fully produced in the Carribean’s by talented and inspiring wood craftmen, in mini series, with a strong respect to the ressources and the biodiversity of the islands. <3 - #dachzephir #tiban #guadeloupe #mahogany #mahoganyfurniture

Throwback on our tiban distributed by @tiban.fr. It is the very first piece of furniture we designed in 2015, a hommage to the « cunning intelligence » of creole community to fabric their own furnitures. When we started this project, we decided to produce the tiban in « pwarié péyi » and local rose wood and discarded the mahogany wood since it had a more classical and colonial connotation in our mind. In 2017, when we launched the second batch of tiban, we decided with Christophe — the founder of TIBAN — to produce some pieces with the mahogany wood. We were very surprised to see how the « modern » shape of the object can transform the perception of this connoted material : an intense color and right surface treatment that pops up and reveal it beauty. We just wanted to share those new images with you. — Based in Guadeloupe, TIBAN is the first Guadeloupean brand celebrating histories of creole furnitures. The tiban is fully produced in the Carribean’s by talented and inspiring wood craftmen, in mini series, with a strong respect to the ressources and the biodiversity of the islands. <3 - 📷 @rimasuu_std - #dachzephir #tiban #guadeloupe #mahogany #mahoganyfurniture

Throwback on our tiban distributed by @tiban.fr It is the very first piece of furniture we designed in 2015, a hommage to the « cunning intelligence » of creole community to fabric their own furnitures. When we started this project, we decided to produce the tiban in « pwarié péyi » and local rose wood and discarded the mahogany wood since it had a more classical and colonial connotation in our mind. In 2017, when we launched the second batch of tiban, we decided with Christophe — the founder of TIBAN — to produce some pieces with the mahogany wood. We were very surprised to see how the « modern » shape of the object can transform the perception of this connoted material : an intense color and right surface treatment that pops up and reveal it beauty. We just wanted to share those new images with you. — Based in Guadeloupe, TIBAN is the first Guadeloupean brand celebrating histories of creole furnitures. The tiban is fully produced in the Carribean’s by talented and inspiring wood craftmen, in mini series, with a strong respect to the ressources and the biodiversity of the islands. <3 - #dachzephir #tiban #guadeloupe #mahogany #mahoganyfurniture

Last month, we were invited by the high-school Raoul Georges Nicolo in Guadeloupe (@stdaaguadeloupe) to lead a two weeks workshop with the students of the applied arts sector.  As a continuity of our research @eloj.kreyol, the workshop “éloge du reste” proposes to the students to re-investigate the concept of leftover, which is a starting point of imaginary of creoles culture, according to the Guadeloupean poet and writer Ernest Pépin, met in 2015.   Developed in 4 steps, the workshop started by collecting and mapping different forms of leftovers, including a large vegetable ressources — the beginning of a lot craftsmanships and other forms of creation. They compose what we called in Guadeloupe “mès é labitid” — creole scenes of We are extremely proud of the implication and creativity of the students, illustrating the full potential of those far away French territories, and, in another way celebrating a potential future of the creative ecosystem in the Caribbean islands. Here is a sample of the results from the students. « Eloge du reste » is a part of the Eloj Kréyol project, supported by la DAC Guadeloupe, @Regionguadeloupe, and labeled by @Fondation_memoire_esclavage. — #dachzephir #elojkreyol #Regionguadeloupe #ArchipeldAvenir #dacguadeloupe #mèsélabitid #leftovers #std2aGuadeloupe #LPO_RGN

Last month, we were invited by the high-school Raoul Georges Nicolo in Guadeloupe (@stdaaguadeloupe) to lead a two weeks workshop with the students of the applied arts sector.  As a continuity of our research @eloj.kreyol, the workshop “éloge du reste” proposes to the students to re-investigate the concept of leftover, which is a starting point of imaginary of creoles culture, according to the Guadeloupean poet and writer Ernest Pépin, met in 2015.   Developed in 4 steps, the workshop started by collecting and mapping different forms of leftovers, including a large vegetable ressources — the beginning of a lot craftsmanships and other forms of creation. They compose what we called in Guadeloupe “mès é labitid” — creole scenes of lives. By using numerical and physical collage technique, the second step of the workshop proposed to the students to compose from leftovers/fragments collected. From their compositions to interpretations, these conceptual images, which « mix reality and the marvellous, the here and the elsewhere, the non-contemporary and the current, the identifiable and the bizarre » — Jean-Marc Lachaud, « De l’usage du collage en art au XXe siècle » — tend to sketch out potential imaginaries of Creole culture / creole objects. We are extremely proud of the implication and creativity of the students, illustrating the full potential of those far away French territories, and, in another way celebrating a potential future of the creative ecosystem in the Caribbean islands. « Eloge du reste » is a part of the Eloj Kréyol project, supported by la DAC Guadeloupe, @Regionguadeloupe, and labeled by @Fondation_memoire_esclavage. — #dachzephir #elojkreyol #Regionguadeloupe #ArchipeldAvenir #dacguadeloupe #mèsélabitid #leftovers #collageart #collageartwork #std2aGuadeloupe #LPO_RGN

Last month, we were invited by the high-school Raoul Georges Nicolo in Guadeloupe (@stdaaguadeloupe) to lead a two weeks workshop with the students of the applied arts sector.  As a continuity of our research @eloj.kreyol, the workshop “éloge du reste” proposes to the students to re-investigate the concept of leftover, which is a starting point of imaginary of creoles culture, according to the Guadeloupean poet and writer Ernest Pépin, met in 2015.   Developed in 4 steps, the workshop started by collecting and mapping different forms of leftovers, including a large vegetable ressources — the beginning of a lot craftsmanships and other forms of creation. They compose what we called in Guadeloupe “mès é labitid” — creole scenes of life. Here, some images that present different type of leftovers. We are extremely proud of the implication and creativity of the students, illustrating the full potential of those far away French territories, and, in another way celebrating a potential future of the creative ecosystem in the Caribbean islands. « Eloge du reste » is a part of the Eloj Kréyol project, supported by la DAC Guadeloupe, @Regionguadeloupe, and labeled by @Fondation_memoire_esclavage. — #dachzephir #elojkreyol #Regionguadeloupe #ArchipeldAvenir #dacguadeloupe #mèsélabitid #leftovers #std2aGuadeloupe #LPO_RGN

In this #moisdesmémoires , we are very proud to announce that our research project Eloj Kréyol is now supported by the @fondation_memoire_esclavage (Foundation for the Memory of Slavery) and has been awarded the FME label, which expresses the relevance and interest of the project in regards to the objectives pursued by the Foundation, including : - To develop knowledge and transmission of the history of slavery, the slave trade and its abolition as an integral part of the history of France. - Bringing together memories that value the cultural, artistic and human heritage of this history. This label is a real symbol for us, at a time when we have just "celebrated" the 10th anniversary of the death of Edouard Glissant (a key figure in our approach) and the 20th anniversary of the Taubira law. Eloj Kréyol is one of the first manifestations of Creole stories in design practice. It attempts to bring to light and transmit a whole part of the creations that has been silenced, and which nevertheless characterises the French History . Although Eloj Kréyol is still a self-financed research project, we would like to thank all those who have contributed to the project with their insights and contributions. The beginnings of a beautiful story - between research, essay, creation and transmission - which we hope will be even more beautiful. And will move the lines of French design. The story continues, Mèsi an pil ! ♥️ - @eloj.kreyol #dachzephir #elojkreyol #fondationmemoireesclavage #guadeloupe #martinique #creoledesign #researchdesignrls

In this #moisdesmémoires , we are very proud to announce that our research project Eloj Kréyol is now supported by the @fondation_memoire_esclavage (Foundation for the Memory of Slavery) and has been awarded the FME label, which expresses the relevance and interest of the project in regards to the objectives pursued by the Foundation, including : - To develop knowledge and transmission of the history of slavery, the slave trade and its abolition as an integral part of the history of France. - Bringing together memories that value the cultural, artistic and human heritage of this history. This label is a real symbol for us, at a time when we have just "celebrated" the 10th anniversary of the death of Edouard Glissant (a key figure in our approach) and the 20th anniversary of the Taubira law. Eloj Kréyol is one of the first manifestations of Creole stories in design practice. It attempts to bring to light and transmit a whole part of the creations that has been silenced, and which nevertheless characterises the French History . Although Eloj Kréyol is still a self-financed research project, we would like to thank all those who have contributed to the project with their insights and contributions. The beginnings of a beautiful story - between research, essay, creation and transmission - which we hope will be even more beautiful. And will move the lines of French design. The story continues, Mèsi an pil ! ♥️ - @eloj.kreyol #dachzephir #elojkreyol #fondationmemoireesclavage #guadeloupe #martinique #creoledesign #researchdesignrls

@_basketclub_ x @dedon_official Brief 18 🌞 - For this new basket club brief we toke the opportunity we had to be in Guadeloupe during the mango season to make a Mango catching basket 🥭(in creole « pannié golèt »). This traditional object of the Caribbean’s is fixed to a pole shaped as an « Y » in order to catch grapes of mango up in the trees. We used a fixed solid structure for the based and a soft inter linen using a traditional weaving technic. - #dachzephir #basketclub #guadeloupe #goleettle #basket #weaving #mango #dedon

Manman Dlo A story of water in south of Martinica before the 1950s (2018- @eloj.kreyol research project) - « Manman dlo (the “water goddess” of Martinique), is itself made of a mix of elements: an earthenware jug, the dobann, inspired by the shape of a container extensively imported from Aubagne and which was used in the Caribbean to keep water cool during working hours; a circular marble base modelled on the marble-topped sideboards, common in colonial homes, whose cold stone surface served to keep the water in containers cool; a karaïb wickerwork strap, made in Martinique using a local technique; a necklace in grèn job, or ‘Job’s tears’, wild grains of a lovely pearly colour that are found in tropical regions and used by the poor to make jewellery; and a plastic cup imported from Europe. All of these objects have a story to tell. As Françoise Vergès writes: ‘The object is not only “material”, meaning embedded in a circuit of production and a circuit of commercialisation, manufactured, traded and sold. It always carries immaterial traces of moments of manufacture and trade. Its life constitutes a cultural, social and human reality that is found in rituals, practices, songs and language,and that inhabits people more than stones’. […]Through the association of such an assortment of materials, Manman dlo testifies to the mixes, transformations and translations that characterise Creole culture. » @thomas_golsenne - Extract of « The Creole Ninfa » in @fieldessays Éloj Krèyol (2019) - We are currently exhibiting Manman Dlo in @arcadedesignalacampagne Nature Culture Êtres (march to october) #dachzephir #elojkreyol #martinica #marble #ceramic #weaving #waterjar

Manman Dlo A story of water in south of Martinica before the 1950s (2018- @eloj.kreyol research project) - « Manman dlo (the “water goddess” of Martinique), is itself made of a mix of elements: an earthenware jug, the dobann, inspired by the shape of a container extensively imported from Aubagne and which was used in the Caribbean to keep water cool during working hours; a circular marble base modelled on the marble-topped sideboards, common in colonial homes, whose cold stone surface served to keep the water in containers cool; a karaïb wickerwork strap, made in Martinique using a local technique; a necklace in grèn job, or ‘Job’s tears’, wild grains of a lovely pearly colour that are found in tropical regions and used by the poor to make jewellery; and a plastic cup imported from Europe. All of these objects have a story to tell. As Françoise Vergès writes: ‘The object is not only “material”, meaning embedded in a circuit of production and a circuit of commercialisation, manufactured, traded and sold. It always carries immaterial traces of moments of manufacture and trade. Its life constitutes a cultural, social and human reality that is found in rituals, practices, songs and language,and that inhabits people more than stones’. […]Through the association of such an assortment of materials, Manman dlo testifies to the mixes, transformations and translations that characterise Creole culture. » @thomas_golsenne - Extract of « The Creole Ninfa » in @fieldessays Éloj Krèyol (2019) - We are currently exhibiting Manman Dlo in @arcadedesignalacampagne Nature Culture Êtres (march to october) - Archives : 2. Collage numérique à partir de la carte postale Marchande de lait E.L.3, Edgar Littee 3. Chassepagne - Pierre à filtrer - Jarre, Fond Flohic - Coll. MRHE - #dachzephir #elojkreyol #martinica #marble #ceramic #weaving #waterjar

Manman Dlo A story of water in south of Martinica before the 1950s (2018- @eloj.kreyol research project) - « Manman dlo (the “water goddess” of Martinique), is itself made of a mix of elements: an earthenware jug, the dobann, inspired by the shape of a container extensively imported from Aubagne and which was used in the Caribbean to keep water cool during working hours; a circular marble base modelled on the marble-topped sideboards, common in colonial homes, whose cold stone surface served to keep the water in containers cool; a karaïb wickerwork strap, made in Martinique using a local technique; a necklace in grèn job, or ‘Job’s tears’, wild grains of a lovely pearly colour that are found in tropical regions and used by the poor to make jewellery; and a plastic cup imported from Europe. All of these objects have a story to tell. As Françoise Vergès writes: ‘The object is not only “material”, meaning embedded in a circuit of production and a circuit of commercialisation, manufactured, traded and sold. It always carries immaterial traces of moments of manufacture and trade. Its life constitutes a cultural, social and human reality that is found in rituals, practices, songs and language,and that inhabits people more than stones’. […]Through the association of such an assortment of materials, Manman dlo testifies to the mixes, transformations and translations that characterise Creole culture. » @thomas_golsenne - Extract of « The Creole Ninfa » in @fieldessays Éloj Krèyol (2019) - We are currently exhibiting Manman Dlo in @arcadedesignalacampagne Nature Culture Êtres (march to october) - Archives : 2. Chicorée à la Fileuse N d'inv.998-36-54 Coll.MRHE 3. Fontaines à Saint -Pierre, Album photographique N14 - Coll. MRHE - #dachzephir #elojkreyol #martinica #marble #ceramic #weaving #waterjar