Is there a particular era or place you wish you could have worked in?

We do not have one particular reference period. We are interested in everything from the 1920s to the early 2000s, because each decade produced its own form of creativity, freedom and experimentation. Every period offers something worth rediscovering—whether through its materials, colours, craftsmanship, proportions or cultural atmosphere.

What interests us is not reproducing a historical style, but extracting elements from different eras and bringing them together in a contemporary and personal way. We like interiors that feel layered and difficult to place in time.

At the same time, we have a strong aversion to spaces that feel ostentatious, status-driven or overly demonstrative. When an interior tries too hard to communicate wealth or importance, it often becomes inelegant. We prefer spaces with character and presence, but also restraint, ambiguity and discretion.

Courtesy of Ludovic Balay

What’s an unusual source of inspiration that has found its way into your work?

We are often inspired by anonymous or overlooked spaces: the corridor of an old hotel, a slightly faded nightclub, a service entrance or an outdated waiting room. These places are rarely considered “beautiful”, but they often contain unexpected combinations of materials, colours and proportions. Once removed from their original context, those details can become surprisingly sophisticated.

Courtesy of Ludovic Balay

Share a song that you listen to when feeling creatively challenged?

“Nightclubbing” by Grace Jones. It has a strange combination of discipline, repetition and sensuality. It creates an atmosphere without becoming distracting, and somehow helps ideas begin to move again.

Courtesy of Yoann et Marco

What’s the ghost in your work—the thing that lingers but isn’t obvious?

Probably a sense of nocturnal life. Even in our calmest interiors, there is often something slightly mysterious or decadent beneath the surface—a tension between elegance and unease. We like spaces that feel composed and precise, but never completely innocent.

Courtesy of Isabel Bronts

What’s the question you wish people would ask about your work but never do?

“How do you want people to behave in this space?” We are often asked about colours, materials or historical references, but an interior is also a form of choreography. It influences how people move, where they gather, what they touch and how long they choose to stay.

Courtesy of Isabel Bronts

What is your favourite piece from the Lemon collection, and why?

The Keys Chair. I love the contrast between its rigorous, almost architectural geometry and its small decorative details, which feel closer to jewelry. It has a strong historical presence without appearing nostalgic, and enough character to define a room without overwhelming it. It is both disciplined and playful—qualities we are always looking for in our own work.