When Antoine Roset accepted his father Pierre’s offer to join Ligne Roset in 2006, the French furniture manufacturer entered its fifth generation. The younger executive’s family loyalty is not limited to the people who share his surname. “We have more than 900 employees working for the company, and one of the most important things for me is to make sure that our business grows and gives work to these people.” Roset also relishes challenging his employees, he tells Architizer, with designs that test the boundaries of both time-honored and high-tech fabrication. Here he describes that bridge between past and future in more detail.
Portrait by Aude Audrien
Name: Antoine Roset
Age: 34
Title: Executive Vice President of Roset USA
Location: New York
How would you say Ligne Roset resembles or carries on the historic vision of the company? How has it broken away?
Our business is still 100-percent family-owned; our factories are still located in France, in the same region; our headquarters is located next to the factories, so the management team can check production at any time needed. Close collaboration between production and management and a human management culture are at the root of our company. This, of course, does not mean that we don’t invest in new technology or develop new ways to produce. Improving our production is a top priority, as it allows us to always push the limits of design.
Design collaborations have played a significant role in Ligne Roset’s identity and growth since the 1960s, and especially since 1973. Why has the company partnered with outside talents, rather than bringing designers in house?
We started with our own in-house studio, run by Michel Ducaroy in the ’70s, which was a great collaboration. We then thought that if a brand like us wants to represent the best of the design world, it makes sense to work with designers from all over. In deciding to partner with outside talents, we bring fresh, unexpected ideas to the world.
The Togo Series. Images courtesy of Ligne Roset unless otherwise noted.
The Togo series, by Michel Ducaroy, has been your bestselling product since its introduction in 1973. Why do you think it’s endured?
When Michel Ducaroy designed the Togo, it was a revolution. We created a hyper-comfortable, easy-to-move, easy-to-clean, enjoyable sofa made of foam only. In the ’70s, people were used to having feet on their sofas, and this contemporary look was extremely new — yet the design’s underlying qualities are what make the Togo such a longstanding success. Also, Togo is made of different densities of foam and more than 10 pieces, though it looks and feels like one cohesive shape and it takes up to three hours to upholster a Togo sofa in leather. Know-how and quality make a tremendous difference when it comes to the comfort and endurance of the Togo.
What products are poised to be classics alongside Togo?
The Peter Maly bed designed in 1982; Facett and Ploum from the Bouroullec brothers; Philippe Nigro’s Confluences; Nomade Express from Didier Gomez — and we hope many more.
Confluences by Philippe Nigro
L: Peter Maly bed; R: Ploum by the Bouroullec Brothers
How do you choose collaborators today?
We are looking for design that interests us; we are not looking for a name. Because we have a penchant for discovery, it is also part of our DNA to associate with young designers, who always offer a fresh take on the industry. We have been lucky enough to work with the big names of the design industry before they were famous, and to continue working with them long after.
Would you provide readers with a product that exemplifies the research that turns a fresh take into reality?
Facett is probably one of the best examples. During a factory visit, the Bouroullec brothers discovered our numeric stitching machine. At that time, we were one of the few to have this kind of technology. They were amazed by the potential of such a tool and decided to design specifically for that machine. When they came up with Facett, we were thrilled to accept the challenge. We spent months with our best specialists to push the limit of this machine — paired with hours of stitching, assembling, and upholstering by hand — to create the Facett as it stands today.
Facett by the Bouroullec Brothers
How would you describe the U.S. versus overseas customer?
The U.S. market is still a new market for high-end contemporary, as there is more understanding about our kind of products in Europe. Though the American client requires more attention, that helps a brand like us to grow.
Explore more products from Ligne Roset on Architizer.
