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« Are participating briefly or constantly to the erection of the Commune: »

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Seb

Alex

Ed












THE GOVERNING BODY

Alexandre Maïsetti, a guerrilla fighter in the field of fashion, a specialist of clothing.
Sébastien Lyky, its multidisciplinary art director, a man who holds dear a type of fashion that is chic but not pretentious.
Edouard Launay, a discoverer of new talents, an adept of laid-back refinement, a specialist of the object.

COMMUNE DE PARIS 1871

It was a chance encounter between three young Parisians, all active in the world of fashion and graphic arts. What brought them together was a desire to produce and market designs that are like them. They came up with the idea of creating a new label which would bear the stamp of both variety and coherence, based as it is on marrying a new international concept of art and traditional craftsmanship.
Shirts, cushions, illustrators, polo-necks, fans, wall¬papers, cashmere knitwear, factory, rings, musicians, shirts, leather...
The meeting of different genres and skills that com¬bine to create a certain type of fashion, at once sim¬ple, well-made, and even a bit meaningful...









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Phil

Simon











MUNCHAUSEN

Munchausen was created in 2004 by Simon Pillard and Philippe Rosetti. It is an independent structure focused on prospective development in graphic design and particularly on the recycling of ancestral signs and their shifting to poetic imagery.
Simon Pillard graduated from ESAD Reims in 2003. Now he is a graphic designer for creator JC de Castelbajac.
Philippe Rossetti graduated from Ecole des Beaux-Arts Lyon and Villa Arson in Nice and started as a lecturer for the French Consulate in Rome. He is now in charge of the stylistic and commercial devel¬opment of Munchausen.
« When “Commune de Paris, 1871” asked for Munchausen’s contribution, we wondered what a communard contribution might be and whether it could apply today. With autonomy, utopia and in¬surrection as a challenge, we decided Munchausen would be communard. We approached the job as a commission and started doing research on 19th century engravings and wallpapers. We then worked on the technical and aesthetic adaptation of the iconography we had discovered. We worked in two ways. One consisted in corrupting typical 19th century scenes by adding 21st century signs and the other in creating an improbable form of architec¬ture with the « Château ». We took as much pleasure in bringing Gustave Courbet, Emmanuel Perrotin and the Chanel logo together as we did in creating a code based on black, white, blue and red.”


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Julien

David




















DAVID “YAYA” HERMAN DUNE, JULIEN LANGERDOFF

Julien Langendorff is an adept at DIY. He draws with a Bic biro, publishes his own collections of drawings and exhibits his work in the top places for contemporary graphic art. At the crossroads of fine arts and urban poetry, his work is peopled with characters dealing with apparently ordinary situations, in disturbing sur¬roundings, with no guidelines, on the threshold of the fantastic.
David “Yaya” Herman Dune, with his songs and his band, Herman Dune travels across the United States, the United Kingdom and Europe. When he’s not singing, David Herman Dune - also called Yaya - is designing drawing books, discs illustrations or exhibitions, peopled with recurrent characters: aliens, surfers, or the blue Bigfoot.

« We worked for “Commune de Paris, 1871” as we usually do in our creative sessions, in an instinctive and evolutive way. We start with an atmosphere that turns into a series of possibilities that form a whole, a harmonious colour, echoing stories... When “Commune de Paris, 1871” called on us with their theme, we looked for someone, a face, a word, an extreme situation. We found a man with a mousta¬che, wearing a jacket, in raging flames, calling for help and warning people: «FIRE, FIRE» on Paris... You can smell something burning... moustache ends, and jacket buttons... »

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Ade


ADELINE CACHEUX

Adeline Cacheux, following a long working experience in the heart of contemporary art galleries and studies in Art History, set’s her eyes on jewelry making for a look favoring raw edges, abstract shapes and minimal embellishment. She then creates eponymous brand in 2006.
Adeline Cacheux, each season, reinvents itself through its philosophy of creating products for the modern man and woman, with a focus on quality, originality and confidence. Unpretentious of an absolute innovation, she simply prefers a non-conformist approach to the craft. Her jewels are also unsigned.
Consistent in its use of high-end materials - sterling silver, 24 carat gold – she has been recognized in the art of creating elegant, stylish and timeless jewelry that has a tough-chic aesthetic.

All its products are designed and made totally by hand in her in-house atelier in Paris. Each collection comes in very limited editions.
Adeline Cacheux has been collaborating with the prestigious maison Christofle by designing for them in 2007 Perles Fluidity and in 2008 Les Enchaînés.
Her intimist, luxury approach to jewelry making made her collaborate with the french brand Commune de Paris - also working through them with artists such as David Herman Dune, Julien Langendorff and Munchausen…A limited edition, 100% solid silver.

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Lili


LILI FLEURY

Lili Fleury, is an "explorer" who does not trust anything more than her intuition. Born with the underground artistic scene from the end of the eighties, this graduate from the Ensaama is multi-talented. Thanks to her own creations (illustrations, paintings, photos, books…), to her contributions to contemporary art (Pierre Huygue, YI Zhou), and also to her experience in the world of music (co-founder of the Bronx Agency), publishing ("Dis Voir" publishing house) and fashion (Giambattista Valli, Fred Sathal), Lili Fleury has created a unique style based on fantasy, mystery and poetry.

" The pencil drawn portrait of a revolutionary aristocrat whose handsome face seems assaulted by a liana of bramble ; like a deadly waltz, a rosace of blue and red intertwined veins at the end of which skulls in bloom are dancing ; a cockerel’s bust which bravely faces a crow of doom bathed in scarlet blood…I tried to revisit the anguish and the disillusions of that mini-revolution by using strong metaphors, but not necessarily those which are typically used to illustrate the "Commune". And as usual, my approach was voluntarily intuitive. I let myself be guided by the story of an extraordinary era, the end of the 19th century, a chaotic period also characterised by a profound idealism and a certain innocence ".

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Cleo

CLEO CHARUET

Cléo Charuet – Cleoburo – is officially a French Parisian free-lance art director, graphic designer and director; less officially cook, absurd collector and cat masseuse. From things printed to things animated to things online she notably collaborated with Cartier, Dior Homme and Van Cleef & Arpels.

« Starving Communards and Parisians, having eaten up the last rats, cats, dogs and horses, finally slaughtered all the zoo animals in the capital and only spared the pigeons because they could transmit messages and microfilms. The kangaroos, bears, and elephants bought by Parisian butchers ended up on the menus of fancy restaurants, for example for Christmas Eve of 1870. The tragic and surrealist reality of the historical facts mixed with my constant obsession with cooking and animals, are the basic ingredients for this series of objects for the Commune de Paris 1871. »

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Jmt

JM TIXIER

Jean-Michel Tixier is a draughtsman and director. His dreamlike and irreverent world comes from his taste for 1970's French illustration (Topor, Grimault, Chaland). His fine lines have seduced among others Kenzo and Nike. Sebastien Tellier and Air also benefited from his vision of the absurd.

« I wanted to move away from the classical imagery of the Paris Commune, scenes of fighting, of desolation and the like. Strong personalities as for example Louise Michel inspired me. That is why I worked on the world of smokehouses, literature circles and thinktanks. I used smoke as a graphic link between rebels and intellectuals; smoke is there on each illustration, whether escaping from a cigar, in a metaphore of the human mind or shooting out of a canon to represent violence. »