To coincide with the launch of our AW24 ARTY pre-collection, inspired by art in all its forms, we set off to meet Véronique de Soultrait, an artist who for several years has nurtured a love for rope in all its states.
It was in the heart of her studio, in the 3rd arrondissement of Lyon, that she welcomed us. A multifaceted artist, she is now surrounded by a team of 6 collaborators, with whom she creates bespoke projects in partnership with exceptional decorators and designers.

Hello Véronique, thank you for welcoming us into your studio. Could you explain to us how it all began?
[VDS].: I have always been passionate about lace and antique crochet. At the very beginning, I started by creating a collection of cushions that I covered in linen or macramé that I made myself, mixed with different materials, from the simplest to the most rustic. I then felt a desire to create my own pattern, my own universe and, above all, after training at the Fine Arts school, to move towards wall decor.

I worked for 25 years as a decorative painter specializing in trompe-l'œil and patinas. But it was ultimately towards the creation of artworks based on rope, rather than paint, that I turned.

Where do you draw your inspiration from to achieve all these creations?
[VDS].:My work is heavily inspired by the 1930s. Cubism holds a central place in my creative process. It was greatly inspired by tribal art and ethnic patterns, by Africa and Asia, which creates a unique fusion between these different cultures. At 60, my career path reflects the multiple influences accumulated over the years. These inspirations come from everything I have loved and explored throughout my life. My time at the Faculty of Art History also marked my artistic vision. There, I developed a real passion for painters of all eras and backgrounds, which is reflected today in the diversity and richness of my work.

What materials do you work with?
[VDS].:We prefer to work with natural materials, hemp, cotton, but we are forced to expand the range because we have many requests for gold thread. We work with the Carlhian establishment, which is the last in Lyon to make gold thread.
We also often incorporate metal and a lot of burlap. We can work in a very natural spirit, with raffia, paper rope—very typical of the 1950s Scandinavian style—upholstery webbing, bamboo, water hyacinth, waxed cotton, and natural artisanal cotton. We try to work with local suppliers, mainly from Haute-Loire, or for some in Spain. But always within Europe.

What do you love about your job?
[VDS].:What I love about this job is the constant abundance of new ideas. You are never bored. The constraints imposed by clients, whether in terms of shapes or colors, are in reality springboards that push us to exceed our limits, to conduct in-depth research, and to explore uncharted territories. This creative process becomes a clever blend of our own identity and these new inspirations. I often find elements there that are dear to me, echoes of my past at the Fine Arts school.
One of my great pleasures is setting off to discover new suppliers, unearthing treasures, and hunting for unique pieces. Research is at the heart of our work and represents one of my main missions, which I always accomplish with great enthusiasm. It is this perpetual quest for novelty and authenticity that fuels our creativity and makes each project an exciting adventure.

When you are creating, or looking for a new pattern, do you prefer to be in the city or the countryside?
[VDS].:I love being here, in my studio. It's my second home, the place where I feel best for creating. For me, creation requires mental space, a moment of inner silence that I strive to find. Fortunately, thanks to my team who take care of the manufacturing, I now have much more free time. These are precious moments where I need to be alone to truly dive into my creative process.

Do you manage to find time to nourish your creativity?
[VDS].:In the evening, when I manage to stay a little later and find myself alone, that is when I truly become myself again. I forget daily life and the notion of time, allowing me to conduct experiments without interruption. It is a precious moment to dream, sketch, and nourish my reflection.
My studio is cluttered, but it is essential for my visual stimulation. I find elements of past projects there, ready to be re-explored and transformed. It is a continuous cycle: returning to ideas and reinterpreting them differently. I would say that only 30% of my trials lead to something marketable. You have to accept taking this time and acknowledging that not everything will always be an immediate success. Sometimes, what seems unsuccessful at a given moment can be reused in an innovative way later on.

Would you like to tell us more about certain creations?
[VDS].: The XXL mandala: a work I created, strongly inspired by Sonia Delaunay, for a client in New York. I was given carte blanche for the colors, and I explored variations inspired by nature, with that very solar touch in the center. My work is also permeated by yoga, energies, and the more spiritual aspects of life. These underlying elements bring a unique depth to my creations. One also finds a cosmic influence, with subtle references to the planets and the universe.

To discover the work of Véronique de Soultrait, visit: veronique-de-soultrait.com