Studio Omana is enchanted by Marie Daâge creations - each porcelain is a testament to her artistry. The way she infuses everyday items with her exquisite designs transforms the ordinary into something truly special. Her vision of integrating art seamlessly into our daily lives, adding a touch of elegance and beauty to even the simplest objects, is nothing short of magical.
We cherish till today the memory of when we met Marie at her store near Place du Luxembourg in the famous 6th arrondissement of Paris. We were standing in front of the door when she dismounted her bicycle with a flourish, a bag of croissants in hand, and offered us a French coffee in one of her exquisite cups. We felt as though we landed in another world and were ready, by her side, to dive into Marie’s realm of porcelain—the so-called ‘white gold’. It was a world of truly unique charm. When we left a couple of hours later, our heart was full, and we were very much looking forward to receiving the creations we decided to show our audience in Muscat in a few months’ time.
Dear Marie, can you share a bit about your background and how you started your brand?
I grew up in Martinique with an Austrian mother and a French father. My mother was passionate about decorating and was renowned for having one of the best tables on the island, always with magnificent decorations. I was raised in that environment, surrounded by beauty. Since I was little, I’ve always loved drawing and painting, and I used to fill my notebooks with drawings.
I was fortunate enough to be taught by a master, an old gentleman called Monsieur Vincent, to whom I would go to fire the porcelain I had painted during the week. He taught me everything – having been in the business for three generations. I owe him a lot. With my creations, I started looking at shops and I immediately received orders, which was a great opportunity. My first big order was for Barneys New York and Japan, who discovered me by chance at an exhibition. At the time, I was painting on my own, and I worked day and night to fulfil this order.
Very soon afterwards, another big order came in, this time for the Printemps department store in Paris. Once again, I painted day and night. After that, I met painters and craftsmen who were able to work for me, enabling me to participate in my first international exhibition and to start exporting my creations.
This wonderful idea of treating collections, colours, and shapes separately and then bringing them together according to the desires and visions of the client is truly unique. Was this concept present from the beginning, or did it develop over time? What inspired you to approach it this way?
Right from the start, I wanted setting a table to be as much fun and creative as painting. I felt that it wasn't always right to have the same table from one dinner party to the next. I envisioned creating a sort of ‘wardrobe’ for the table, allowing my collections to be mixed and matched in a beautiful variety of colours. I also wanted the shapes to be versatile, so that everyone could create their own table, making the act of setting the table more exciting. With our 230 designs and 68 colours, we create made-to-measure ensembles, just like haute couture. Every order is a personalised creation.
You can't change your interior decoration every day, but you can change your table setting. It's a gift for your guests. A successful dinner begins with a beautiful table.
You work with Limoges porcelain, renowned for its exceptional quality and traditional recipe, often referred to as white gold. What drew you to this particular material? What makes Limoges porcelain so distinctive and special?
I have six children who literally grew up among porcelain as my showroom was in the family flat. The art of entertaining has always been important in my family, and French porcelain is part of our heritage. I love its whiteness and its smooth surface, which is very pleasant to paint. Since the discovery of kaolin in the Limoges region in the 18th century, French porcelain has been renowned for its exceptional whiteness and strength. It is a noble material that allows for a beautiful palette of colours, including some absolutely magnificent gold-based purples.
The blend of colours: Your colour palette is truly unique. Can you share some insights into how these colours are created? What was your approach to developing them?
Creating a colour palette is a bit like putting together a perfume: you start with a few pigments, mixing them carefully. Each colour corresponds to a precise recipe, the result of meticulous work and numerous firings. The colours sometimes change in the kiln before reaching the ideal shade. Every year, I feel a strong desire for certain colours or combinations, because they interact and transform with each other like musical notes.
In the hand-painting technique, each brushstroke gives rise to an infinite number of gradations. It is this subtlety that allows for the daring mix of shades, much like in nature. For example, the colours of a sunset are harmonies that only nature can create.
The existing collections are expanded each year with a new one. What are your sources of inspiration? How do you come up with the new patterns?
Inspiration is everywhere: in nature, of course, but also in fabrics, frescoes, marquetry on wood or stone. I have an instinctive tendency to transcribe the patterns I see on the roundness of a plate. I also studied art history, and I often draw on decorative motifs from our heritage.
Your porcelain brings a unique vibrancy to the table that can't be achieved with other porcelains. It opens a world of true table creation, where it's nearly limitless to create combinations and settings. What would you recommend to each client when choosing porcelain and patterns? What does a perfect table setting look like to you?
For me, the ideal table is lush and generous. I love it when plates and colours respond to each other, and when each guest discovers little personal details in front of them. A table should surprise, because there's nothing more boring than things that are too matchy-matchy. The unexpected is what makes a table come alive; it's a part of yourself that you share with your friends.
I’d love to get a behind-the-scenes look...Can you tell us a bit about the production process? How many people do you employ?
The process of making a hand-painted plate is long and often requires several firings. The process usually begins with a poncif, a perforated tracing paper that is applied to the plate with charcoal to outline the design. Next come the colours, applied in several layers. Our freehand painting technique requires great virtuosity, with each brushstroke rendering the shadow, the light and the shape of a turning leaf. Sometimes the simplest motifs are the most difficult to achieve, because the brush must be precise and controlled.
Today, we have a dozen painters and we're proud to be opening a new studio in Vendôme, in a historic building. This will be our showcase workshop, where we can not only demonstrate our expertise, but also train the younger generation. It's essential to me that this expertise continues.
After so many years of creation, you don’t seem to have lost any of your passion. What drives you to continue doing what you started years ago?
After 35 years, I still feel the same joy in creating and imagining colours. We have fantastic customers all over the world, who share their habits and intimate moments with us, because the art of the table touches on important moments in life: weddings, anniversaries and parties. It's touching to see how much our creations are part of these moments.
Now, with three of my children having joined the company, there is a fantastic dynamism in our business. They bring a wealth of new ideas, and I'm delighted to see that the younger generations are increasingly interested in porcelain, embracing a return to beautiful things, craftsmanship and quality. This perfectly aligns with our philosophy of working by hand.
How did you grow up? You have many children yourself. How did you set the table when they were young? Did you always use your own creations?
Setting the table has always been essential for me. Even for a simple dinner, I like to add a little decoration, light a candle, put a flower in a gobelet. Everyday life becomes so much more exciting when surrounded by beauty. A well-presented table encourages better behaviour among the children and everyone else, and it elevates the conversation.
Is there a heartfelt message you would like to share with your clients?
I'm deeply grateful to our customers around the world who continue this beautiful tradition of tableware. Their support allows us to maintain our commitment to creating hand-painted collections. The slow made for the slow lux, which represents, I think, true luxury.
