Michel Pinet

In France, buildings erected before the 1840s seem to possess a special kind of soul. They bear witness to an instinctive culture of beauty, rooted in the transmission of craftsmanship, which was gradually supplanted by a society driven by modernity and the economics of mass production. To those accustomed to these buildings, they evoke a profound emotional response through their distinctive proportions and the multitude of refined details that contribute to the harmony of the whole. As industrialisation came to dominate the art of building, this architectural and ornamental quality gradually became rarer. This is not to suggest that modern architecture is without merit, but rather that it responds to different concerns and sensibilities.

Paradoxically, although modern design emerged with the ambition of making good taste accessible to the greatest number of people through industry, that industry has instead largely produced banality by prioritising productivity and commercial efficiency. In doing so, it has contributed to undermining the very notion of aesthetics. The perfection of industrial processes has accustomed us to a form of abstraction that is impersonal and which we sometimes mistake for genuine quality. Although certain creations may be remarkable, the spirit of the craftsman's hand has been lost in the process.

On the contrary, historic houses continue to inspire a unique emotional response through their refinement, coherence and profoundly human character. Regrettably, the vast majority of alterations to earlier buildings, carried out after the mid-nineteenth century, have often diminished not only their appearance but also the very spirit that animates them. Ways of living have evolved, as have our perception and organisation of domestic space. After the advances of mechanisation, the extraordinary rise of the digital age seems to be taking us ever further from the traditional sense of beauty and the genius embodied in the skilled craftsmanship of these older buildings. For many people, the sight of ordinary contemporary projects gives rise to a sense of absence — or even discomfort — caused by the lack of genuine refinement and the disappearance of the spirit of the craftsman's hand.

The purpose of the Société Michel Pinet lies precisely in delivering an exceptional level of aesthetic quality and harmony that celebrates the gift of skilled craftsmanship.

In our pre-industrial heritage, the French decorative arts of the seventeenth and eighteenth centuries represent the culmination of the pursuit of domestic beauty and a total aesthetic vision. As a consequence of our genuine passion, we have come to specialise in the study of the architecture and interior decoration of these periods. From this expertise we draw on the knowledge required for historical reconstruction projects commissioned by collectors and those who own historic homes. For our other projects, we draw inspiration from this heritage more freely, favouring a creative approach that remains respectful of what already exists. Our ambition is not to recreate the past for its own sake, but to extend its principles in order to produce designs where the refinement and aesthetic qualities of former times are brought into harmony with contemporary comfort while, above all, responding to the desires and aspirations of our clients.

Michel and François-Léopold