From the wall­pa­per back­drops, to the run­way drapes and even the ta­ble set­ting de­tails, de Gour­nay kept the eye trav­el­ling

Philippine Tatler Homes - - STYLE -

bound for col­lec­tors’ item sta­tus.

If China: Through the Look­ing Glass was an ephe­meral ex­pe­ri­ence to be had and cher­ished, the longevity of Chi­nois­erie, like de Gour­nay’s flair for style and qual­ity, how­ever, is here to stay—a legacy that de Gour­nay has suc­cess­fully staked a claim on: “Our wall­pa­pers, our mir­rors, our din­ner plates are works of art. They will be sold at auc­tions in a few hun­dred years as valu­able an­tiques. Our ar­ti­sans are artists and each one leaves a lit­tle bit of his soul in ev­ery cre­ation and it is this ‘spirit res­o­nance’ that dis­tin­guishes our work from ma­chine made replicas.”

clock­wise Li Xiaofeng’s dress made of porce­lain shards; the fab­ric serves as a can­vas to the beau­ti­ful ta­ble set­ting; the beau­ti­ful Met Gala menu was printed on de Gour­nay’s on duck egg dyed silk

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