Bending Wood, Shaping Emotion : The Design Approach of Tiffanie Baso
Maëva EMOND
Master’s student in Design, Arts & Crafts, and Industry
Jean Monnet University, Saint-Étienne, France
Yu YAKI
Master’s student in Design, Arts & Crafts, and Industry
Jean Monnet University, Saint-Étienne, France
Tiffanie Baso is a French designer and the founder of Magdeleine, a furniture brand that bridges ancestral craftsmanship and contemporary design through the elegance of bent wood. Established in 2019, her practice is rooted in a genuine exploration of sculptural and functional forms, inspired by both nature and the human body. Her work reveals a distinctive aesthetic in which each piece becomes an expression of emotion, comfort, and intention. Through a rigorous use of craft techniques, particularly French wood bending, she develops a refined reflection on material, form, and the sensory experience of furniture. This conversation explores her academic background, professional development, design philosophy, and her perspectives on female entrepreneurship, material choices, and the future of furniture.
Maëva EMOND & Yu YAKI : How did your educational path, from craftsmanship to Créapol and then fashion, shape your approach to design and working with wood? ?
Tiffanie BASO : Créapol was actually my final school. Before that, I completed a foundation year (MANA), followed by training in Montauban at an institute where I truly learned craftsmanship. The program combined design courses at the institute with hands-on training in a craft through an apprenticeship center (CFA). I chose wood.
This period gave me a deep understanding of craftsmanship and the importance of precision, down to the millimeter, especially when working on unique or exceptional pieces.
At Créapol, I was able to go further through projects such as one with Faurecia. I wasn’t only working on drawings or 2D design. I also explored interface graphics, material research, colors, and patterns. It allowed me to experiment across disciplines and understand that in design, every detail matters: material, form, and balance.
I also had a short experience in fashion in London. During a summer between academic years, I worked there sourcing fabrics in China and drawing inspiration from fashion weeks, with the goal of proposing collections for brands like Asos or Supermass. It was a very different approach, highly oriented toward luxury, yet also very standardized.
M. E. & Y. Y. : What artistic, cultural, and natural influences shape your formal research and your relationship to objects?
T. B. : Iris van Herpen is a major influence for me. I love her work. She goes far beyond fashion, she explores materials and works in very different ways. She draws a lot from nature, both at macro and micro scales, with incredible precision. Her work is almost parametric, very futuristic, yet deeply organic. She has been a constant influence throughout my journey.
Nature is one of my primary sources of inspiration. It strongly guides my drawings, but I am also deeply inspired by the human body and ergonomics. For me, everything is connected, it’s about harmony, poetry, and emotion. Form must convey something, especially softness.
I am also inspired by traditional objects, particularly from Africa and Asia. These cultures bring me a lot, they allow me to stay connected to other ways of making, to remain open, and to engage in exchange. This is a major source of inspiration, both creatively and commercially.
Much of this comes through studying forms and reflecting on their psychological impact. For example, in the Middle Ages, the throne had a strong symbolic and psychological function. I ask myself similar questions with my chairs: what does the form provide to the person sitting ? Does it dominate, envelop, reassure ? I try to translate this into a more minimalist style, always with a focus on curves.
M. E. & Y. Y. : How does wood and particularly bending and laminated wood techniques, structure your creative process ?
T. B. : Everything begins with making, which is an essential step for me to determine whether a design is feasible. I often create small plans and prototypes to test comfort and balance before moving on to production using bending techniques.
I work with laminated wood: I cut thin layers, place them into molds with templates, and then clamp them with straps or presses to achieve the desired shape. It’s a method that requires a great deal of precision, similar to barrel-making or wooden boat construction. It’s a craft I truly love.
M. E. & Y. Y. : What kind of emotional and sensory identity do you aim to convey through your furniture ?
T. B. : I strive for something pure and minimalist, yet soft, welcoming, and almost organic. The idea is that the piece can “breathe,” that it is ergonomic, calming, and truly finds its place in someone’s life.
During my studies, I realized how much our environment influences our mental state. Living in spaces with white walls, no materiality, and no color can dull creativity and emotions. I grew up in a small village surrounded by nature, and that left a strong impression on me. I carry that connection into my work.
I try to create pieces that have meaning, that last, and that are chosen carefully, not simply consumed. Objects should transmit something, almost an energy, which can be felt when integrated into daily life.
I believe the most important thing is to love what you do, to appreciate your surroundings, and to learn how to value and care for them. It creates a virtuous circle. It’s also about exchange, an energy that circulates between ourselves, others, objects, and the environment. You need to love yourself in order to love what you create and what surrounds you. This awareness guides both my creative work and my relationships with others.
M. E. & Y. Y. : How has your journey with Magdeleine evolved your relationship to design and material ?
T. B. : Magdeleine is my great-grandmother’s name, and it’s also my third given name. I’ve always wanted to create furniture that lasts over time, pieces with soul and meaning, that can be passed down, like the furniture I inherited from my family. Choosing this name was a way of honoring that heritage and those values.
One evening in Paris, under a rare starry sky, I felt the need for a real challenge, something that truly reflected who I am. That’s when I made the decision. When I later stopped my studies, it confirmed everything. I started meeting entrepreneurs and thought, “Let’s do this.”
The first major challenge was COVID. Right after launching, I had been selected for fairs in Hong Kong and New York, which was very motivating, but everything was canceled or moved online. I found myself isolated, far from Paris, which made things more difficult. Gradually, things resumed, and I understood that in this field, you need to embrace long-term processes and constantly question yourself.
At first, my designs were very minimal, timeless, and refined. Over time, I wanted to explore new materials, push wood further, and experiment with more advanced finishes. I began to feel that my creations no longer reflected who I was. That’s when I realized that I, too, was evolving, and that my design had to evolve with me.
