{"id":271654,"date":"2026-01-06T14:42:37","date_gmt":"2026-01-06T19:42:37","guid":{"rendered":"https:\/\/interiordesign.net\/?post_type=id_news&p=271654"},"modified":"2026-01-09T11:42:07","modified_gmt":"2026-01-09T16:42:07","slug":"10-questions-with-ambre-jarno-of-maison-integre","status":"publish","type":"id_news","link":"https:\/\/interiordesign.net\/designwire\/10-questions-with-ambre-jarno-of-maison-integre\/","title":{"rendered":"10 Questions With\u2026 Ambre Jarno Of Maison Int\u00e8gre"},"content":{"rendered":"\n
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To\u0302le Bench. Photography by Mae\u0308lle Le Men.<\/figcaption><\/figure>\n\n\n\n
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January 6, 2026<\/p>\n\n\n

Words: <\/span>Ugonna-Ora Owoh<\/a><\/p>\n<\/div>\n\n\n\n

10 Questions With\u2026 Ambre Jarno Of Maison Int\u00e8gre<\/h1>\n\n\n

When Ambre Jarno first arrived in Burkina Faso at age 24, she couldn\u2019t have imagined that her fascination with the country\u2019s artisans would later redefine her creative path. What began as a two-year mission became a life-changing journey that led to the founding of Maison Int\u00e8gre<\/a>, a design studio and bronze foundry in Ouagadougou, the capital city, dedicated to preserving traditional craftsmanship while reimagining it for the contemporary world.<\/p>\n\n\n\n

Before her move, Jarno had built a career in France in media, working for a French television network that took her across West and Central Africa. Those years, she recalls, were formative with every step teaching her how to adapt and collaborate. Maison Int\u00e8gre emerged from that understanding: a belief that design can be both socially grounded and globally resonant. Working closely with Burkinab\u00e9 artisans, Jarno built a creative ecosystem where ancient casting traditions meet modern design. Collaborations with designers such as No\u00e9 Duchaufour-Lawrance and Brendan Ravenhill have resulted in objects that are deeply rooted in West African forms.<\/p>\n\n\n\n

Today, Maison Int\u00e8gre stands as one of Africa\u2019s most inspiring design studios where material honesty, social responsibility, and cultural preservation coexist. With recent showcases of her work, including Design Miami<\/a>, she continues to build a bridge between craftsmanship and contemporary design, one bronze form at a time.<\/p>\n\n\n\n

Interior Design<\/em> connected with the designer to speak about her practice and design philosophy. <\/p>\n\n\n\n

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Ambre Jarno, founder of Maison Int\u00e8gre. Photography courtesy of Maison Int\u00e8gre.<\/figcaption><\/figure>\n\n\n\n

Ambre Jarno Bridges Craftsmanship & Contemporary Design<\/h2>\n\n\n\n

Interior Design: What first brought you to Burkina Faso?<\/h3>\n\n\n\n

Ambre Jarno: I moved to Burkina Faso when I was 24, originally on a two-year mission. During that time, I met artisans and craftsmen who introduced me to an incredible world of traditional craftsmanship. I discovered weaving, woodwork, and most memorably, bronze casting, an ancient technique deeply rooted in Ouagadougou. The artistry and precision behind the bronze work fascinated me.<\/p>\n\n\n\n

After two years, I returned to France but continued to travel between France and West and Central Africa for work. Eventually, I decided to stop everything and move back to Ouagadougou to start a project focused on craftsmanship and new design applications. That\u2019s how Maison Int\u00e8gre began. I started by working with a few artisans in family courtyards, creating small objects and slowly inviting designers to collaborate on contemporary pieces inspired by West African culture.<\/p>\n\n\n\n

I also spent several years learning the bronze casting process myself, and after about five years, I established my own foundry and workshop. The goal was to bring together all the different skills: modeling, molding, casting, finishing, and welding, under one roof. Today, we have a small but amazing team. Even when orders are slow, we keep training each other to improve our craft.<\/p>\n\n\n\n

ID: What was your previous career before starting Maison Int\u00e8gre?<\/h3>\n\n\n\n

AJ: Before, I worked for a French T.V. channel. It was a great experience; I traveled all over Africa meeting interesting people and learning a lot about different cultures. I worked in television for almost five years, and I believe every step of my journey connected somehow. Working in West and Central Africa taught me how to adapt, communicate, and collaborate in different cultural contexts. Those experiences definitely helped shape how I run my project today.<\/p>\n\n\n\n

ID: Describe your background and education?<\/h3>\n\n\n\n

AJ: I grew up in Paris. I attended a classical French high school, studied a bit of law, and then switched to communications. Later, I went to New York for a bachelor\u2019s degree in fine arts before returning to Paris, where I completed a master\u2019s in media management at ESCP Business School. My childhood wasn\u2019t particularly artistic. My parents weren\u2019t artists, though they were art lovers, so we visited museums often. My aunt is an artist, and my mother had many artist friends\u2014<\/strong>so I grew up surrounded by art to some extent\u2014<\/strong>but it wasn\u2019t a deeply creative household.<\/p>\n\n\n\n

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Leaf Sconce Mirror, based on a shape by designer Franc\u0327ois Champsaur. Photography by Timothee Chambovet.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Leaf Sconce work in progress in the Maison Int\u00e8gre work space. Photography by Camille Maze\u0301.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

ID: How did you transition from discovering the artisans to building your own foundry?<\/h3>\n\n\n\n

AJ: When I first started, I worked directly in the courtyards of craftsmen. We created small objects, then gradually larger ones. But bronze casting is complex: it involves modeling, mold-making, casting, welding, and finishing. At that time, we had to transport the pieces across the city just to find someone who could weld them. It was exhausting. So, I decided to build a single space where all the artisans could work together\u2014<\/strong>where every stage, from molding to finishing, happened under one roof. That\u2019s how the workshop was born. Now, we have a wonderful team that collaborates and even trains one another during quieter periods.<\/p>\n\n\n\n

ID: You mentioned you also run a social initiative. Can you tell us about that?<\/h3>\n\n\n\n

AJ: Three years ago I started an association to support our artisan community. Our proximity and constant on-the-ground presence mean we act with a clear understanding of local issues and challenges. Our goal is to build a virtuous ecosystem that sustains the entire community over time. Burkina Faso is facing an unprecedented security, economic, and health crisis; arts and crafts have slipped from priority and risk disappearing, leaving dozens of families without resources or prospects. We currently fund the school fees of about 100 children whose parents work with us. The idea is to extend Maison Int\u00e8gre\u2019s impact beyond design to education, healthcare, and social welfare. It\u2019s important for me that our growth also uplifts the people and families who make it possible.<\/p>\n\n\n\n

ID: How would you describe Maison Int\u00e8gre\u2019s design philosophy?<\/h3>\n\n\n\n

AJ: When I first began working with artisans, most of them were producing traditional, touristic statues. There wasn\u2019t much innovation in terms of functional design, no lighting, no furniture. I wanted to reinterpret these incredible techniques and materials in new ways.<\/p>\n\n\n\n

For our initial collaborations, we worked with designers who drew inspiration from traditional objects. For example, French designer Pia Chevalier created candleholders inspired by ancient Lobi slingshots and flutes used for hunting. Another designer, No\u00e9 Duchaufour-Lawrance, developed pieces inspired by the traditional \u201cTiebele\u201d architecture at the Ghana-Burkina border and the carved Lobi ladders used to reach rooftops. These ladders became sculptural lights in our collection, connecting everyday function with symbolism.<\/p>\n\n\n\n

Later, we worked with Marion Mailaender, a French designer who was fascinated by corrugated iron,\u00a0a material used across Africa for homes and shops. Together, we created a collection that transformed this humble, everyday material into something elegant and functional. It reflects our philosophy: to celebrate what is local and familiar, but elevate it with care and creativity.<\/p>\n\n\n\n

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Y Lamp designed by No\u00e9 Duchaufour-Lawrance. Photography by Matilde Travassos.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Retro lamp, also by Duchaufour-Lawrance, which nods to the heavy traffic in the city of Ouagadougou. Photography by Matilde Travassos.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

ID: Beyond lighting and furniture, are you exploring other creative directions?<\/h3>\n\n\n\n

AJ: I\u2019ve started creating bronze sculptures in my workshop. It\u2019s a personal project that I haven\u2019t fully developed yet because of time, but I hope to expand on it soon. I also want to explore textiles.<\/p>\n\n\n\n

Recently, we began working with a community of weavers, and we showcased this project at PAD Paris earlier this year. We\u2019re experimenting with recycled materials and trying to merge metalwork and textiles into new forms. The idea is to show that craft industries can drive both social and economic development while preserving ancestral know-how. We plan to present a full collection of textile-based works in spring 2026.<\/p>\n\n\n\n

ID: What are some of the challenges you face running a design studio in Burkina Faso?<\/h3>\n\n\n\n

AJ: There are many challenges. Creating high-end design pieces requires precision and consistency, but we also want to respect the artisanal process. It\u2019s a delicate balance between maintaining traditional methods and meeting international standards.<\/p>\n\n\n\n

Each bronze piece we make requires a new mold, so every object is essentially a fresh experiment. It\u2019s a long, complex process. Sometimes measurements need to be refined multiple times, or finishing needs to be redone. But the results are worth it.<\/p>\n\n\n\n

I\u2019ve also invited bronze casters from France to work with our local artisans in Ouagadougou. This exchange helps us find solutions to technical challenges, improve safety conditions, and make heavy, labor-intensive work less physically demanding. The collaboration between French and Burkinab\u00e9 craftsmen has been beautiful to watch.<\/p>\n\n\n\n

ID: Maison Int\u00e8gre\u2019s presence has grown internationally. What\u2019s next for you?<\/h3>\n\n\n\n

AJ: We presented new and reworked pieces at Design Miami in December, 2025, through our U.S. gallery partners. Some works are new; others are existing designs with new textures and finishes.<\/p>\n\n\n\n

Beyond that, I want Maison Int\u00e8gre to continue proving that Africa can host sustainable, high-quality design production. We need more long-term projects like this on the continent, not just one-off collaborations or politically driven initiatives. It takes time, training, and real commitment to build an ecosystem that supports artisans with fair wages, contracts, and healthcare.<\/p>\n\n\n\n

ID: What do you ultimately want Maison Int\u00e8gre to represent?<\/h3>\n\n\n\n

AJ: I want it to be a platform that shows Africa\u2019s creative potential through real, sustainable projects\u2014ones that take time, build communities, and create jobs. Maison Int\u00e8gre is about proving that design can be both beautiful and deeply human.<\/p>\n\n\n\n

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Baby To\u0302le Lamp designed by Marion Mailaender. Photography by Camille Maze\u0301.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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To\u0302le Bench designed by Marion Mailaender. Photography by Mae\u0308lle Le Men.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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To\u0302le details designed by Marion Mailaender. Photography by Mae\u0308lle Le Men.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n