Coming from the world of luxury or art, private or public sector, these five leaders are among the rare women on the head of the export. Both guardians and exceptional craftsmen, they make him and shine.
Laurent Nicholas, Baccarat General Manager. Luxurious brightness
Your journey. “After the finance began, we have developed an opaque taste” Great Ladies of Luxury “integrating for Cartier, Sothy’s or Dior, where I created jewelry and clock operation.
Mania. “Connect-how and customers. We need to listen to their expectations and inspire us more liquid.
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Stable turn. “I see three components. Social and cultural responsibility that cannot be more concrete. Baccarat is the name of the small town, our anchor, which is 70% of our waste. Keeping and transfer of knowledge of internal school and mentoring. “
Your vision of crafts. “Art profession is based on hand and eye. In France, there are twelve best working in Bascarat, whose model is in Burkina Faso that he is 8 years old. Hotspent
Sarah Henry, Cogolin Production Director, Natural Fiber
David Kulo
Your journey. “He was born in Alaska, I studied water resources, French literature, sociology, sociology, that have nothing to do.” (Laughs) Before Chicago, Marketing and Management Consultant Creative Customers who lived their dream before I managed a boring game. At 30, I had enough and conducted a master’s degree in design and interior architecture before becoming a manager in the furniture. But I worked very much for the business that was not mine. In 2006, I met Tai Ping Group, which bought the Cogolin Carpet Factory and recruited me to guide it. »»
Mania. “I had to restore the production team in the region, placing a building in deplorable specialities, create samples, marketing tools than all that is also available for its appearance.
Stable turn. “The company, a lot of women, has about 20 people at the seminar, and 7 in the sales team, design and marketing.
Your vision of crafts. “In France, they are part of the common culture, it is extraordinary. My job is just as much as to go out to get out of this art professions.
Candrine de Susbielle, Textile Art Director of National Factory Production *. General work
David Kulo
Your journey. “Rather atypical, I spent twenty-five years in private or non-governmental organizations, particularly the French Foundation, to which I was shooting at the Atherer Campus program. and happy. “
Mania. “The construction of the artistic councils, which invites modern artists to make carpets and grobbies, to enrich national collections from the organization’s transactions, which today we see and require clocks.
Stable turn. “We work with woolen wool, which threatens France, but imports from New Zealand. Weaving our challenge French wool.
Your vision of crafts. “The ecosystem is quite alive and has a great future in front of it (more people are formed). Point suggestion, I tell myself that it is necessary to have a sacred brain. ” Crafts in France are part of a common culture, it is extraordinary. “
* Production of tapels, Beauvais, Savonnerie, Lace Alençon and Lece Le Puy-en-VelayA number
Sophie Salager, Couneuvre Manufacturing Director. Fitle the brittle art
David Kulo
Your journey. “Historian and Art Historian, I worked at Château de Versailles, and then to the Cultural Engineering Agency, where I was guided by interesting projects, but I was looking for this production, I do what I dream of the art porcelain.”
Mania. “Make a connection between production and modern history.”
Stable turn. “It simply came to our notice then. The resurrection of the snake snake and similar valuable works at the beginning are quite tough. “
Your vision of crafts. “I have always clashed with Christie’s restaurant specialists and restaurants … Responsible for the company.”
Valerie Le Gerk Gilbert, President of Mauvel. Betting on public
David Kulo
Your journey. “I am the seventh generation of Mavvvel by my mother. Family company we grow up with.
Mania. “Resist, to maintain our production in Normandi. And it is important to have a common community.
Stable turn. “We recycle our waters and stop plastic packaging for ten years. I have little contact with these subjects as in the middleGREENWASHING, The more we talk about it, the less we do. Hotspent
Your vision of crafts. “They should not become a museum.” I inherited a knowledge-fear for which I struggles every day to convey them. I am “Dinanders”, those who work metals. I get up in the morning. I am more craftsmanship than the soul’s industrial, but I think that the two professions must be balanced to be profitable. Without this economic vision, we do not think that the future and we can actively save them. Hotspent
Source: Le Figaro
