INTERVIEW: Inès Bressand 23.07.25

Inès Bressand is a Marseille-based designer working at the intersection of craft, material research and contemporary form. Influenced by natural materials and ingenuity of traditional objects, her Akamae series of sculptural woven bags demonstrates an innovative approach to cross-collaboration. The collection originated in 2015 during a research trip to Ghana, where Bressand began working with master basket weavers in the Upper East region. The creative process was guided by hands-on experimentation, observation and direct material handling — fostering long-term partnerships with a community of skilled artisans.   Still working closely with some of the original artisans today, this collection remains ongoing. Each bag is finely woven from locally sourced elephant grass, reflecting both technical complexity and the artistry of traditional weaving – balancing minimal and eclectic forms with a playful sensitivity. Due to the complexity of the designs and the technical knowledge and skill required to produce a bag, the production process requires experimentation, dedication and on-going collaboration with the artisans. The final assembly of each piece takes place in Bressand's studio in Ardèche (France), where the woven forms are shaped and completed by hand with vegetable-tanned French leather detailing.

This Akamae collection embodies Inès Bressand’s intuitive design approach and dedication to craftsmanship. Combining tradition with innovation, the series highlights the handmade as both functional object and sculptural form – and is a testament to cross-cultural exchange and dialogue within contemporary design.

We chatted with Inès about her practice.Can you tell us a little about yourself, where do you live? What was your first connection to craft?

I live in the city of Marseille, France, which is very multicultural city near the mediterranean sea. I grew up in a simple family, connected to nature, where the taste for beautiful everyday objects was strong. My dad is musician and has a great collection of drums from all round the world that he plays.

You studied at La Martinière Design and later completed your Master's in Social Design at Design Academy Eindhoven. How did this transition from textile design to social design shape your approach to creating objects?

I want to design objects since I’m around 12, but craft-based objects only. Maybe I should have studied sculpture, but I choose textile, which is also very connected to the material. I wasn’t attracted to industrial design, which is the classic way to get to object design. Studying at the Design Academy Eindhoven was a explorative and opened minded experience following my very applied textile studies.

 
What was it like learning to work with elephant grass from the Savannah, and how did the Ghanaian craftspeople welcome you into their tradition?

My Master thesis was on straw. Following this research, I had the opportunity to spend 3 months in Ghana with a group of weavers. It was my first time travelling in Africa, alone, and it was both incredibly rich and felt quite long too. All what I knew had to be thought from another perspective. It made me a better human I think ;) ! Living with the weavers allowed us to experiment wild ideas together, that later-on became my first edition of bags.

You describe your process as involving “cross-fertilization of cultures, art and craft knowledge.” Can you explain how different cultural techniques have informed your work?

I am fascinated by the way in which, as human beings, we have developed a range of basic objects to meet our basic needs. Similarities can be found in ancient objects made far apart, using very simple tools. As a designer, I meet, observe, manipulate and bring my own approach to these basic elements. It's always a question of encounters.

What is the most surprising material or technique you’ve encountered in your collaborations with craftspeople so far?

I had the opportunity to work with Marseille soap for a month during a research residency. It’s cooked in giant pots and tasted by master soap makers. It’s viscosity, the way it’s cooked, the way it dries out, and the fact it can be kept a 100 years and still be functional is very interesting. I came out with a lot of materials textures and forms.

Favourite and most treasured object in your house? 

A beautiful stone I found on a beach in England. I carried it for several kms on the beach and brought it back home by plane in my backpack.

Favourite coffee table book?

Dwellings – The vernacular house world-wide by Paul Olivier – Phaidon Press

And finally, what’s next for you and the studio?

I have many prototypes of object for the home that I have made but never showed, in straw, leather, wool etc. I would like to edit them in small series so they’ll get alive in the world, not just sleeping on my shelve.

Explore Inès Bressands collection of Akamae Bags at Pan After. 

Image credits Matthieu Lavanchy & Inès Bressand.