Olivia Putman
Architect Paris / France
2
2
6
Olivia Putman is born in 1964, she grew up in Paris with her mother, Andrée Putman, a designer, and her father Jacques Putman, an art collector, editor and critic. Through family acquaintances and her teenage nights at the Palace, she got to meet the most eclectic figures of the artistic scene of those days. Andy Warhol and Yves Saint-Laurent were among them and she befriended Christian Louboutin and Vincent Darré. She took in a lot at this time, both intellectually and visually.
After graduating from high school in 1987, Olivia Putman completed a bachelor’s degree in History of Art in 1987, at the Sorbonne University in Paris. She then divided her time and workspace between Paris and New York, a hive of artistic activity where she came across the Ivorian painter Ouattara Watts –of whom she became the agent–, the modern art icon Jean-Michel Basquiat, and the gallery owner Leo Castelli.
This first exhibition in 1990 shot Olivia Putman to popularity and she started working with the association Usines Ephémères, which converts disused urban spaces into studios and exhibition sites. In 1990, the group transformed 161 450 square feet (15 000 m²) of the former Bretonneau Hospital in the 18th district of Paris.
Olivia Putman was drawn to Land Art ever since she met Christian Louboutin, a botanic fanatic. In 1994, she created temporary gardens combining art and agriculture with Jean-Paul Ganem, in the west of France.
At this stage, Olivia Putman was an active artist and started studying landscape management in 1995, to assert herself as such. Amongst other things,
she worked alongside the landscape architect Louis Benech on the layout of the Tuileries Gardens, in the middle of Paris.
In 1997, Olivia Putman started as a freelancer and flied to Japan to carry out her first private garden. blic acknowledgement of her talent only took a few years. Her work for perfume creator Caron was awarded the Dream Garden Prize at the Garden Festival of Saint-Cloud in 2000. Olivia Putman also joined forces from time to time with the Studio Andrée Putman, as a landscape architect. She conceives among others the garden of the Pagoda House in Tel Aviv and of Marc Jacobs in Paris.
Satisfying a long-time wish of her mother, the founder of the Studio Andrée Putman, Olivia Putman became the Art Director of the company. In 2007, she followed the renovation of the Morgans Hotel in New York.
“Taking over the Studio Putman was obvious to me as Andrée has been wishing for a long time that I follow her in that great adventure. As a child, Andrée’s education was a silent training. More than anything, she passed me on her rigour and the love of hard work.”
In 2008, Olivia designs a villa in Kuwait and signs the collection “Inside out ” for Fermob by wishing to use a forgotten ribbon, the seat belt one. She also initiates new collaborations which will be realized the next year.
“I am very lucky to manage a studio known for a long-time to be in search of innovative materials but also spotted to awaken the look at those which we are used to walk by every day and which we do not see any more.”
Olivia inaugurates “Le rivage “Hotel in Hong-Kong. The Studio Putman presents a new chair for the American manufacturer EMECO, a collection of sunglasses, a knife for Laguiole, carpets for Toulemonde Bochart, a collection of furniture for the French editor Silvera, the scenography for Christophe’s concerts at the Olympia and the Chateau de Versailles, as well as the Madeleine Vionnet‘s exhibition at the Decorative arts Museum of Paris.
Olivia wins an international contest for Nespresso designing the “Ritual” collection. Her multiple collaborations let her applies her definition of luxury which rather than depending on the price of materials is a proper response provided to a specific demand.
“Luxury can be a very right straw object rather than a stupid platinum object.”
In September Olivia Putman imagines an installation at Artcurial for the 10th anniversary of AD magazine.
In January, 2011, Olivia Putman is appointed to be the new Lalique’s artistic diretor and she launches her first collection of lamps “Orgues”. Artcurial will present for the second consecutive year one of her installation. She also imagines the meridian line “Belle Etoile” for the Italian editor Serralunga.
“I enjoy promoting brands which have a sense of history yet are willing to take their customers towards new horizons. It is in this spirit that I imagined “Orgues””
In December, 2011, Olivia presents her project of interior design of the Fédération Nationale des Travaux Publiques for 5000 m ² of offices.
“A meeting room, too informal, can become intimidating. By making a cosy room just like a club with armchairs and coffee tables, more than an aesthetic change it is the human relationships which are transformed thanks to this reorganization. “
She also draws the collection “Ondes” for Lalique, the lamp “Jour de fête” for the Charles Paris workshop, a collection of fabrics for Pierre Frey and a new chair for Drucker.
After graduating from high school in 1987, Olivia Putman completed a bachelor’s degree in History of Art in 1987, at the Sorbonne University in Paris. She then divided her time and workspace between Paris and New York, a hive of artistic activity where she came across the Ivorian painter Ouattara Watts –of whom she became the agent–, the modern art icon Jean-Michel Basquiat, and the gallery owner Leo Castelli.
This first exhibition in 1990 shot Olivia Putman to popularity and she started working with the association Usines Ephémères, which converts disused urban spaces into studios and exhibition sites. In 1990, the group transformed 161 450 square feet (15 000 m²) of the former Bretonneau Hospital in the 18th district of Paris.
Olivia Putman was drawn to Land Art ever since she met Christian Louboutin, a botanic fanatic. In 1994, she created temporary gardens combining art and agriculture with Jean-Paul Ganem, in the west of France.
At this stage, Olivia Putman was an active artist and started studying landscape management in 1995, to assert herself as such. Amongst other things,
she worked alongside the landscape architect Louis Benech on the layout of the Tuileries Gardens, in the middle of Paris.
In 1997, Olivia Putman started as a freelancer and flied to Japan to carry out her first private garden. blic acknowledgement of her talent only took a few years. Her work for perfume creator Caron was awarded the Dream Garden Prize at the Garden Festival of Saint-Cloud in 2000. Olivia Putman also joined forces from time to time with the Studio Andrée Putman, as a landscape architect. She conceives among others the garden of the Pagoda House in Tel Aviv and of Marc Jacobs in Paris.
Satisfying a long-time wish of her mother, the founder of the Studio Andrée Putman, Olivia Putman became the Art Director of the company. In 2007, she followed the renovation of the Morgans Hotel in New York.
“Taking over the Studio Putman was obvious to me as Andrée has been wishing for a long time that I follow her in that great adventure. As a child, Andrée’s education was a silent training. More than anything, she passed me on her rigour and the love of hard work.”
In 2008, Olivia designs a villa in Kuwait and signs the collection “Inside out ” for Fermob by wishing to use a forgotten ribbon, the seat belt one. She also initiates new collaborations which will be realized the next year.
“I am very lucky to manage a studio known for a long-time to be in search of innovative materials but also spotted to awaken the look at those which we are used to walk by every day and which we do not see any more.”
Olivia inaugurates “Le rivage “Hotel in Hong-Kong. The Studio Putman presents a new chair for the American manufacturer EMECO, a collection of sunglasses, a knife for Laguiole, carpets for Toulemonde Bochart, a collection of furniture for the French editor Silvera, the scenography for Christophe’s concerts at the Olympia and the Chateau de Versailles, as well as the Madeleine Vionnet‘s exhibition at the Decorative arts Museum of Paris.
Olivia wins an international contest for Nespresso designing the “Ritual” collection. Her multiple collaborations let her applies her definition of luxury which rather than depending on the price of materials is a proper response provided to a specific demand.
“Luxury can be a very right straw object rather than a stupid platinum object.”
In September Olivia Putman imagines an installation at Artcurial for the 10th anniversary of AD magazine.
In January, 2011, Olivia Putman is appointed to be the new Lalique’s artistic diretor and she launches her first collection of lamps “Orgues”. Artcurial will present for the second consecutive year one of her installation. She also imagines the meridian line “Belle Etoile” for the Italian editor Serralunga.
“I enjoy promoting brands which have a sense of history yet are willing to take their customers towards new horizons. It is in this spirit that I imagined “Orgues””
In December, 2011, Olivia presents her project of interior design of the Fédération Nationale des Travaux Publiques for 5000 m ² of offices.
“A meeting room, too informal, can become intimidating. By making a cosy room just like a club with armchairs and coffee tables, more than an aesthetic change it is the human relationships which are transformed thanks to this reorganization. “
She also draws the collection “Ondes” for Lalique, the lamp “Jour de fête” for the Charles Paris workshop, a collection of fabrics for Pierre Frey and a new chair for Drucker.
Olivia Putman is born in 1964, she grew up in Paris with her mother, Andrée Putman, a designer, and her father Jacques Putman, an art collector, editor and critic. Through family acquaintances and her teenage nights at the Palace, she got to meet the most eclectic figures of the artistic scene of those days. Andy Warhol and Yves Saint-Laurent were among them and she befriended Christian Louboutin and Vincent Darré. She took in a lot at this time, both intellectually and visually. After graduating from high school in 1987, Olivia Putman completed a bachelor’s degree in History of Art in 1987, at the Sorbonne University in Paris. She then divided her time and workspace between Paris and New York, a hive of artistic activity where she came across the Ivorian painter Ouattara Watts –of whom she became the agent–, the modern art icon Jean-Michel Basquiat, and the gallery owner Leo Castelli. This first exhibition in 1990 shot Olivia Putman to popularity and she started working with the association Usines Ephémères, which converts disused urban spaces into studios and exhibition sites. In 1990, the group transformed 161 450 square feet (15 000 m²) of the former Bretonneau Hospital in the 18th district of Paris. Olivia Putman was drawn to Land Art ever since she met Christian Louboutin, a botanic fanatic. In 1994, she created temporary gardens combining art and agriculture with Jean-Paul Ganem, in the west of France. At this stage, Olivia Putman was an active artist and started studying landscape management in 1995, to assert herself as such. Amongst other things, she worked alongside the landscape architect Louis Benech on the layout of the Tuileries Gardens, in the middle of Paris. In 1997, Olivia Putman started as a freelancer and flied to Japan to carry out her first private garden. blic acknowledgement of her talent only took a few years. Her work for perfume creator Caron was awarded the Dream Garden Prize at the Garden Festival of Saint-Cloud in 2000. Olivia Putman also joined forces from time to time with the Studio Andrée Putman, as a landscape architect. She conceives among others the garden of the Pagoda House in Tel Aviv and of Marc Jacobs in Paris. Satisfying a long-time wish of her mother, the founder of the Studio Andrée Putman, Olivia Putman became the Art Director of the company. In 2007, she followed the renovation of the Morgans Hotel in New York. “Taking over the Studio Putman was obvious to me as Andrée has been wishing for a long time that I follow her in that great adventure. As a child, Andrée’s education was a silent training. More than anything, she passed me on her rigour and the love of hard work.” In 2008, Olivia designs a villa in Kuwait and signs the collection “Inside out ” for Fermob by wishing to use a forgotten ribbon, the seat belt one. She also initiates new collaborations which will be realized the next year. “I am very lucky to manage a studio known for a long-time to be in search of innovative materials but also spotted to awaken the look at those which we are used to walk by every day and which we do not see any more.” Olivia inaugurates “Le rivage “Hotel in Hong-Kong. The Studio Putman presents a new chair for the American manufacturer EMECO, a collection of sunglasses, a knife for Laguiole, carpets for Toulemonde Bochart, a collection of furniture for the French editor Silvera, the scenography for Christophe’s concerts at the Olympia and the Chateau de Versailles, as well as the Madeleine Vionnet‘s exhibition at the Decorative arts Museum of Paris. Olivia wins an international contest for Nespresso designing the “Ritual” collection. Her multiple collaborations let her applies her definition of luxury which rather than depending on the price of materials is a proper response provided to a specific demand. “Luxury can be a very right straw object rather than a stupid platinum object.” In September Olivia Putman imagines an installation at Artcurial for the 10th anniversary of AD magazine. In January, 2011, Olivia Putman is appointed to be the new Lalique’s artistic diretor and she launches her first collection of lamps “Orgues”. Artcurial will present for the second consecutive year one of her installation. She also imagines the meridian line “Belle Etoile” for the Italian editor Serralunga. “I enjoy promoting brands which have a sense of history yet are willing to take their customers towards new horizons. It is in this spirit that I imagined “Orgues”” In December, 2011, Olivia presents her project of interior design of the Fédération Nationale des Travaux Publiques for 5000 m ² of offices. “A meeting room, too informal, can become intimidating. By making a cosy room just like a club with armchairs and coffee tables, more than an aesthetic change it is the human relationships which are transformed thanks to this reorganization. “ She also draws the collection “Ondes” for Lalique, the lamp “Jour de fête” for the Charles Paris workshop, a collection of fabrics for Pierre Frey and a new chair for Drucker.