Portraits

Armel Soyer

Gallery owner in Design and Decorative Arts.

Armel Soyer, a gallery owner and publisher specializing in contemporary design and decorative arts, has always been captivated by the creative process and technical craftsmanship. Between Paris, Megève, and Saint-Tropez, she shapes a unique universe, bringing together emerging talents and renowned artists. In this interview, she shares her journey, the significance of the stories told by the artists and craftsmen she collaborates with, as well as the richness of the spaces where she showcases their exceptional pieces.

What is your background?

 

After studying economics at Paris-Dauphine, I joined Lalique for ten years within the international marketing-communication department. I have always managed to align my goals with my interests: I contributed to promoting craftsmanship at Lalique by traveling worldwide to communicate about this technical expertise. I started with jewelry and watchmaking, and then I was entrusted with the enhancement of the entire product range. Seeing the stars sparkle in the eyes of foreign clients when I spoke to them about the decorative arts, I quickly understood that “made in France” was a true brand, and Colbert’s legacy was very much alive.

At the same time, I observed that artisans were mainly working on reproductions or reissues, and I found it unfortunate that there wasn’t more room for creativity. Based on these observations, I decided to open a new chapter to narrate contemporary decorative arts by establishing my gallery.

When did you open your gallery, and what sets it apart?

 

I opened my first gallery in the heart of Le Marais in 2011, aiming to write a new chapter on decorative arts of the 21st century. My goal was to showcase contemporary designers and artists, and I decided from the outset to represent international artists. I embarked on this venture with Pierre Gonalons and Mathias Kiss, who were among the first artist-designers I represented. I immediately gained critical acclaim. I had the honor of being chosen to participate in Design Miami/Basel with a solo show by Pierre Gonalons in 2012, the gallery’s inaugural year. In 2013, there was further recognition with a Wallpaper Design Award, for Mathias Kiss’s Miroir Froissé. I believe the art world knows no boundaries. Today, I represent as many French artists as foreign ones.

How do you choose the artists to work with?

 

I currently represent about twenty artists, and each story of our encounters is different. I discover artists at specialized events and on social networks. Some contact me and send portfolios—there are no strict rules. However, for me to represent an artist, I must fully embrace their artistic universe. I make no compromises on this point. I am also very attentive to ensuring there is no competition among the gallery’s artists. A new artist must bring something additional, but certainly not replace another artistic universe.

After Paris, you opened other locations to showcase and sell the pieces of the artists you represent. How did you choose these locations?

 

I am drawn to places with vernacular architecture. For example, the Parisian gallery on Rue Chapon, in the heart of Le Marais, used to be a former leather workshop. In Megève, where I have been based for eight years, I had two spaces. One was a gallery in the city center (a building designed by Henry Jacques Le Même in 1945), which is now closed, and the Ferme de Prasset—a unique showroom nestled in the mountains. This rustic building, uninhabited for 50 years, was completely redesigned, and I receive visitors there by appointment. In Gassin, on the Saint-Tropez peninsula, I invested in a typical village house and its narrow streets. Since 2021, the Saint-Tropez gallery on Rue Joseph Quaranta is also a charming bourgeois village house.

These locations I’ve chosen tell a story deeply rooted in the local landscape. It’s the juxtaposition of vernacular architecture and timeless, radical furniture that interests me.

Who is your clientele?

 

I have an international clientele. My experience at Lalique made me aware of the importance of having a business oriented towards foreign markets. Participating in Art Basel Miami was a significant financial effort in the early days, but it brought me the international clientele I aimed for.

How did you come to know about Collection Latil?

 

I met Anne-Sophie Latil because she was working with Sonia Linard from Norki, a company that offers fur carpets and furniture. In 2020, I organized the “Design at Summit” exhibition at the Ferme de Prasset, bringing together pieces from my selection with others from the catalogs of invited decorators such as THG, Bisson Brunel, Dédard, and Norki. Later, Sonia opened her own space in Megève, and I chose to continue the collaboration with Collection Latil.

What are your development priorities, your desires?

 

I am now targeting the American market, always with my commitment and passion for contemporary design and decorative arts, featuring artists with unique approaches and creations. I don’t want to follow a trend but rather choose current pieces that transcend eras and architectures. I have no reservations about this. I showcase all the pieces entrusted to me by the artists. Seeing them work in the different architectures and setups of my galleries is evidence that I made the right choice. So, I continue, both in France and abroad.

 

Photos – ©Studio Erick Saillet, ©Gilles Pernet

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