The joy of creation
Of Annie Hiéronimus, we know very little. She is a modest person… who said of herself mischievously that she was a « minor character » in the world of design. And yet… The only female in the Roset R&D department between 1976 and 1996, in nearly 20 years she created a number of innovative pieces of seating, some of which have become icons. Sandra is one of hers, as is Plumy. We had the great pleasure of being welcomed into her home. With her, we leafed through the pages of her sketch books, spanning 20 years of design in the process. A meeting with a sacred woman, lively, funny, creative. And generous, and incisive. Not very big… that’s true. Unless, of course, in terms of personality!
How did you become a designer?
A.H. Let’s say there was an artistic family tradition. My great-uncle was a painter, and his father a draughtsman and engraver. My father was a radio technician, but made small figurines in enamelled tin. My grandmother was a theatre actress and musician. I had several talents myself… I was a frequent visitor to ‘l’atelier des moins de 15 ans du Louvre’. After the baccalauréat, I did a year’s masters course in Penninghen, but I hated it. Then in 1972, I started at the arts appliqués, rue Olivier de Serre, and there… I loved it. It was marvellous. Professionals, teaching us their craft : stained glass, decorative plasterwork, etc. My uncle, Alain Hiéronimus, lectured on colour, and Robert Wogensky on upholstery. We had no automatic gestures, struck no “poses”. Our design had a sense, an aim. And we knew how to adapt ourselves. So when I arrived at Roset, and I was asked to design armchairs… well, I became used to the word armchair.
Did you join the Roset R&D department right after your studies ?
A.H. I had my ‘diplôme des métiers d’art’, or more precisely, a ‘BTS’ in surface plastic arts. Great ! But I still needed to find work. Then one day, I spot a small advert from Roset in the Express newspaper seeking a draftsperson-designer for their R&D department. I applied without stopping to think. When I arrived, Michel Ducaroy, who was senior in the R&D department (he had already created Togo), showed me round the factory. And that’s how it started : with an explanation of the specifics of each model, and of the quilting. Then I was left in the office with my papers and pens. And was asked to design an armchair [smiles]. Just like that ! I had always had a geometrical spirit, which helped ! I put it to work in support of my artistic sensibility.
One of the first models you designed was Sandra, which is being reissued this year. What is its design story ?
A.H. Sandra was a peony first and foremost. And then I began to think about the way in which I had learnt at Olivier de Serre, that is, to adapt myself to the subject : an armchair, sitting down, comfort. Doing nothing unnecessary.I began the project in March 1977. I envisaged criss-crossing layers which enveloped the seat. Like a piece of clothing. I drew up the plans, the prototyping shop did the rest. The prototyping team were highly inventive, and unbelievable technicians. I produced a presentation drawing at the end of the project, and submitted it to Michel Roset. If it was approved, it would go onto the development stage.
You were the only woman in the R&D department !
A.H. Yes. But I really didn’t care. I had my work, and I was happy like that. I was pretty friendly with Ducaroy. Essentially, the hardest thing was that I was on my own in Briord. I had left my family, my friends, my partner… We decided not to finish with each other, we had a long-distance relationship. This was perhaps also why I was so keen on making such comforting pieces of furniture.
