FREEDOM AND INSOUCIANCE
Valentine Schlegel enjoyed a free childhood, initiating her creative talents roaming through her father’s carpentry and upholstery workshop, the jetty, his boat, and the beach. In 1942, the young Valentine entered The School of Fine Arts in Montpellier. Within a few weeks of her enrolment, the gifted student found herself in fourth year…
Pictures Suzanne FOURNIER-SCHLEGEL
To Valentine Schlegel, artistic expression has only one objective: the body and the glorification of the body. Her principle: Sensuality without metaphysics celebrates beauty in all guises. Whether the resulting sculpture is practical or more conceptual in thought, the end result must speak to the audience on a personal level. That, to Schlegel, is where lies it’s success.
It is precisely in this context and thought process that Maison Corthay lays its intrinsic understanding for the Art of Bootmaking. For all
the beauty that the shoe possesses – for all the time, effort, fantasy and imagination that goes into the bespoke product – the end design
must have longevity and comfort for the wearer.
SCULPTURES À VIVRE
Valentine Schlegel was constantly seeking for the perfect balance between volume and harmonious contours. In 1960, when Valentine Schlegel took to working indoors, she viewed the interiors as another natural realm – full of surprises, reflections, and shapes. Working within the realms of an indoor space, yet striving to produce authentic and natural creations, Valentine Schlegel brought a touch of real emotion and humanity in her work instead of the usual dehumanized architecture in this period. It took New York by storm before being introduced at the Museum of Decorative Arts in Paris.