Following my diploma, I was selected to go to India to train in embroidery thanks to the support of the Culture and Diversity Foundation and UNESCO. Meeting Indian master craftsmen was a real shock; I learned that everything is possible, once you master techniques. It was also a great lesson in humility.

I have a very contemporary vision of my profession and the tools I use. What I like is that they have existed since the dawn of time, but they are still relevant. For me, the tools of the craftsman are tools of expression, of creation, that anchor know-how in today's world.

The hand is at the centre of my weaving work. It animates the woven surface and gives a recognisable organic and spontaneous vibration to my collections. I see weaving as a tool of expression where materials respond to each other and where the palette of textures is infinite.

In embroidery I like to change the scale of my work and mix techniques or materials that have nothing to do with each other, mixing carpet techniques with embroidery, for example, in order to open up the field of possibilities and innovate.