Cobra Studios, a tale of two design cities

– How did Cobra Studios come about?

The seed for Cobra was planted after moving into our new apartment, situated on the ground floor of a small mansion – also a listed building – in Brussels. At the time, we lacked the proper furniture to decorate it or the budget to invest in designer furniture. So we decided to design and make our own pieces. After several iterations and various prototypes, we were finally satisfied with the results. Once we got our pieces to where we wanted, we started promoting our designs with a photo shoot. Shortly after, Wallpaper magazine offered to do a feature. And it was this very nice article that got our studio off the ground”.

– In what way do your skill sets complement each other and how do you go about working together?

We both come up with a flurry of ideas and like similar aesthetics. What really drives us is sourcing new materials and looking for new shapes. Kenny has a very technical eye due to his training, he’s savvy with 2D and 3D software; his creativity never ceases to amaze me. As for me, I’m very manual and I’m constantly testing out new things and trying to think up innovative concepts. We’re surrounded by objects and materials collected over the years and we play around with them until we get to something that looks like an object; something that will then get modified a few times before going into production.

– Kenny, what did you take away from your time in Paris and your work for the Bibliothèque Nationale (French National Library) in particular?

I discovered a lot of things and met inspiring people. Working and living in one of the most beautiful cities in the world does a lot to stimulate creativity. Collaborating with Dominique Perrault enhanced my perspective of the world of architecture and creation in general.

– Hugues, you’ve worked with prestigious brands such as Ralph Lauren, Paul Smith or Chloé, what did that bring you?

Getting the opportunity to express my creativity through the world of designers piqued my curiosity. My trade allowed me to explore arts in general (design, architecture): working with colours and shapes, as well as spatial layouts.

– Could you each tell me what makes Brussels and Paris so different to each other in terms of design and what inspires you in both these cities?

The design scene is very rich in both Paris and Brussels. The difference is that everything seems more complicated in Paris in part due to the lack of available space to create…Whereas creative opportunities are much more readily accessible in Brussels. The mood is also much more pleasant and laid-back, the opposite of the Parisian hustle and bustle.

– The Musée des Arts Décoratifs (Museum of Decorative Arts) has a show about the ‘80s. Some of your work caters to the aesthetic of that decade. The geometrical designs from a young Stark come to mind, as well as Martin Szekely furniture or Ettore Sottsass in particular for his fun and colourful approach. Were you deeply influenced by what came out in those years?

No, not really, we try to create our own aesthetic while getting inspired by what surrounds us.

– There is a certain classicism in some of your work, especially the Roman columns. You seem to like contrasts, between shapes but also materials.

We’re passionate about ancient history and we draw inspiration from shapes and materials that were used back then. Contrasts are indeed ubiquitous in our creations. Our aim is to come up with surprising and contemporary objects that blend new materials into popular shapes. The materials, colours and shapes all clash together, and that’s what we’re the most interested in.

– For the Gem Side Table, you used a block of recycled resin in lieu of precious stones, using “lapidary” techniques. Can you tell us more about that?

The idea with these objects was to create something new from existing material. We picked up blocks of resin which were meant to be destroyed due to their imperfections and non-compliant colours. That allowed us to breathe new life into the raw materials by sculpting them like precious stones, thus creating an object unique in shape and colour. Who’s never dreamed of having an XXXL-size emerald in their living room (laughs)…

– You offer it in many similar yet also completely different variations. Are you drawn to sculpture’s unpredictability?

Yes indeed. Being able to express yourself through different materials is quite extraordinary.

– What are your current and upcoming projects?

We’re renovating an apartment in Athens at the end of the year. We’re building a new living area for us to move into.