Robb Report (Malaysia) - - Style - May - 2 017 Photo R LOUISE

es­cribe your first en­counter with feath­ers.

I dis­cov­ered them nine years ago at an ex­hi­bi­tion on the art of feather-work­ing while train­ing as a milliner. My at­ten­tion was drawn not so much to the fin­ished pieces on dis­play, but to the small feather sam­ples. I was at­tracted to the vari­a­tions in tex­ture and the nat­u­ral pat­terns. I saw Im­pres­sion­ist paint­ings in them. I had never looked at a material in this way. I then de­cided to fol­low this path and to ded­i­cate my­self to feath­ers and make them my material of predilec­tion.

Where did you learn the art of feath­er­work­ing?

I ac­quired the ba­sic tech­niques not at school but from two feather ar­ti­sans in Paris over the course of three years: Maitre d’art Nelly Sau­nier and Do­minique Pil­lard, whom we talk much less about but who works in haute cou­ture and is very in­volved in the trans­mis­sion of savoir faire. What is in­ter­est­ing also is that ev­ery­one de­vel­ops his own ap­proach and vi­sion of the feather.

What is the most im­por­tant el­e­ment in the mak­ing of your cre­ations?

I wish to in­tro­duce a new way of look­ing at feath­ers. Through my cre­ations, by shaping and as­sem­bling feath­ers, I wish to high­light one or more of their fea­tures to re­veal their in­trin­sic beauty. Depend­ing on the piece I’m cre­at­ing, I fo­cus on dif­fer­ent el­e­ments: shape, colour, pat­tern or tex­ture. Ad­di­tion­ally, feath­ers have a con­nec­tion with light, with move­ment am­pli­fy­ing this re­la­tion­ship. Light there­fore be­comes a material to shape.

Tell me about your work in haute cou­ture.

I some­times work in fash­ion on an as­sign­ment ba­sis and then in part­ner­ship with other ar­ti­sans and well-known brands. There are al­ways on­go­ing projects. I’ve done work for Jean-paul Gaultier, feather house Le­marie, var­i­ous haute cou­ture shows and a para­sol for Her­mes, which is still dis­played in its Wan­der­land ex­hi­bi­tion.

You col­lab­o­rated for the first time with a watch brand in 2015, when you worked on a time­piece for Pi­aget’s Se­crets & Lights – A Myth­i­cal Jour­ney col­lec­tion. This year, you worked on the dial of Pi­aget’s Alti­plano Feather Mar­quetry …

It takes one week to com­plete the feather mar­quetry on a dial, whose com­po­si­tion re­flects ra­di­ance. But the feath­ers them­selves, by their struc­tural colour, re­spond to this theme of ra­di­ance. The re­flec­tions, the nu­ances, the iri­des­cence cre­ated by the de­com­po­si­tion of the light on the mi­cro- sliv­ers, or barbs, of the pea­cock sabres and duck mir­rors al­low a con­stant di­a­logue with the light. The mov­ing wrist am­pli­fies this phe­nom­e­non. www.em­i­liemoma.com Δ

This and fac­ing pages: Em­i­lie Moutard-martin used pea­cock, duck and rooster feath­ers for Pi­aget’s Alti­plano Feather Mar­quetry.

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