Chloé Nègre graduated from the Camondo Institution in 2007, a benchmark school in the interior architectural industry, and began her career at Printemps-Haussman, where she spent two years redesigning a shop in Paris.
Chloé Nègre graduated from the Camondo Institution in 2007, a benchmark school in the interior architectural industry, and began her career at Printemps-Haussman, where she spent two years redesigning a shop in Paris.
For four years, she follows the projects of the Oetker group’s Hôtel l’Apogée in Courchevel, as well as prominent private properties in Connecticut, Paris, and London, learning the requirements and research in the service of creativity.
Chloé Nègre launched her own studio in 2015, nourished by these experiences and the goal to build her own language. Her love of workmanship, travel, and her distinct appearance motivated her initial endeavors, for which she developed environments with distinct identities.
His work represents the outcome of discussions, and the history of a location, and is executed with precision and daring technical discipline.
GET INSPIRED BY THE COLORS
WALES SOFA
GET PRICE
Wales Sofa, by Brabbu, was designed to provide the same feeling of protection: a burgundy velvet sofa, with a curvy back and arms, a base in aged brass, and polished golden nails. Some of the most impressive monuments of the Middle Ages, the medieval castles, can be found in Wales, often called the “Land of Castles”. These private fortified residences were both offensive and defensive structures that provided control of the area immediately surrounding them. Designed to create a complete look for your living room, Wales Sofa will be the comfortable fortress of your space.
GET INSPIRED BY THE LOOK
YOHO STOOL
GET PRICE
Yoho Stool is inspired by the Yoho National Park is known for its expansive glaciers and impressive waterfalls. Made of Carrara marble, YOHO Stool is a tribute to this natural beauty. Place it in a modern interior design and this contemporary stool will complement it, adding an exclusive touch.
“I don’t want to embroider around an image, to make a frame outside of which nothing exists. I think of a place as a whole, so that it can be viable, lasting, both in reality and in time. “
