A pastry chef, an artist, a collab

Gault&Millau: Is this your first collaboration with another universe?

Jessica Préalpato: In 2021, I had the opportunity to work with Guerlain's nose, Delphine Jelk, on the "Aqua Allegoria Nettare di Sole" collection. She introduced me to perfume architecture, a dimension I'd never given to my desserts before. Now, I approach my patisserie through texture, taste and smell. Meeting Marguerite is my second collaboration.

Marguerite Cordelle: The world of gastronomy appeals to me enormously. I've worked on restaurant design on several occasions, but this is the first pastry store I've designed. As an architect, I'm interested in all scales, from furniture design to facades. My focus is on materials, durability and form.

G&M: What attracted you to the world of the other?

J. P.: My partner, Emmanuel Trotot, introduced us. From the very first meeting, Marguerite understood what we wanted. The brief was succinct, however, and boiled down to a few words: material, warmth, conviviality and continuity of space. We spontaneously moved towards each other, her discovering my naturalness-oriented practice, me immersing myself in her world. Our collaboration was built around raw materials: briquettes, terracotta, stone and wood.

M. C.: Jessica's approach immediately echoed mine. She pays the same attention to the environment as I do in my daily work as an architect. We agreed on the materials and their texture. My idea is always to propose shapes and materials that will last.

G&M: What did you bring to each other?

J. P.: We encouraged each other to take risks. Marguerite pushed me out of my comfort zone. Without her, I would probably have opted for a more classic atmosphere, whereas I wanted something offbeat and unexpected, something that reflected me and allowed me to share my values.

M. C.: Without a doubt, trust. I needed to create continuity between the room and the laboratory. That's why we put a counter at the center of the project, which defines the boutique. To reflect the lively nature of the ingredients, we opted for French materials, such as briquettes, which are hand-crafted in France.on materials, such as briquettes, which can be found on the floor, laid in a herringbone pattern, as well as on the edges of the benches, and right up to the flat countertop. We also paid great attention to plants: aromatic ones on the pastry side, climbing plants on the bakery side. They are also present on the benches and behind the counter with the plant dryer.

G&M: What do you see as the link between pastry-making and store decoration?

J. P.: Materials and textures. I've always loved touching fabrics and stones, and getting to know the raw side of things before dwelling on them. That's where we ended up. Marguerite chooses, then models the material. I do the same with pastry. I discover what nature has to offer through touch and flavors, which I then assemble to create others.

M. C.: Attention to people, elements, textures, combinations of materials... there are many similarities in our respective approaches. For example, the base of the walls is made of raw earth, into which we incorporate plant fibers such as flax or straw, to work on the tactile and visual aspects. It's a kind of construction game, a recipe for both sides.

G&M: Are there any impossible collaborations?

J. P.: None at all. Each one is unique. You just have to take the trouble to open up to each other's worlds. Ego is the only thing that could prevent us from contributing to each other.

M. C.: There are purely financial reasons! But the most important thing is to choose a project that touches us and reflects who we are. The sourcing of materials is key, because everything we use in a space plays a role, from the humidity of a room to the quality of the air.I refuse to work on projects that don't take environmental impact into account.

G&M: Collaboration... freedom or constraint?

J. P.: Total freedom. It allows us to surpass ourselves. I still remember working with Albert Adrià on ADMO. Our two approaches are extremely different. We could have failed to merge them, but love of the product and sharing brought us together. The creative freedom was then absolute. We did the same with Marguerite, especially when it came to choosing materials.

M. C.: One project is like no other, and in that respect, the possibilities are very open. The constraints are limited to the space in which we're going to work and our understanding of how the site will be used. This has a very positive aspect, as it allows us to be more innovative.

G&M: Will this collaboration have an impact on your future projects?

J. P.: Until now, I wasn't aware of my sensitivity to materials. In the future, I'm going to introduce them into my work, perhaps by drawing inspiration for my collections from the atmosphere we've imagined: the briquettes, the plant dryer, the fabric for the cushions... All this remains to be conceived and will emerge as the creations unfold!

M. C.: Of course. Every collaboration leaves its mark. Even if the materials chosen are sometimes the same, the way they are treated and positioned makes each project unique. Immersing ourselves in another universe to understand it and create a setting for it forges our experience and helps us evolve.