JOURNAL

Studio Romell was selected as one of fifty artists presented by Galerie Lythore, marking a notable moment in the studio’s international positioning within collectible design and functional art.

The Paris based gallery has published a dedicated profile exploring Studio Romell’s practice, background, and material language. The feature outlines the studio’s approach to creating singular objects at the intersection of art, architecture, and furniture, with a clear emphasis on spatial presence, material integrity, and limited European production.

The presentation traces the studio’s foundations through the collaboration between Carlos and David, highlighting the dialogue between sculptural intuition and structural precision that defines Studio Romell’s work. Particular attention is given to the studio’s restrained yet assertive formal language, as well as its use of materials such as marble, bronze, solid wood, and glass, selected for both physical weight and symbolic resonance.

Being included among Galerie Lythore’s curated artists situates Studio Romell within a broader contemporary context of high end furniture and sculptural design, and reinforces the studio’s focus on limited editions produced in close collaboration with European artisans.

The full feature can be read on Galerie Lythore’s website via the >link<.

From 20 January, selected works by Studio Romell will be presented for sale through Galerie Lythore in Paris. The collaboration marks an important step in the studio’s long-term international development within the contemporary collectible design field.

Lythore is a gallery dedicated to contemporary furniture and objects shaped by craftsmanship, material intelligence and architectural thinking. Its program brings together designers whose work is defined by precision, restraint and a strong relationship to form, process and space. Conceived as a discreet framework rather than a dominant signature, the gallery focuses on curating, contextualising and accompanying singular works, ranging from unique pieces and limited editions to bespoke commissions. The objects, and the designers behind them, remain central.

This approach aligns closely with Studio Romell’s own philosophy. Our practice is rooted in the intersection between sculpture and function, where material, proportion and construction carry the primary narrative. We have always sought to let form lead, with context and interpretation following later through considered presentation rather than overt branding.

Lythore was founded by Florantine Bourgeon and Julien Abonnel, both trained as designer-makers with a deep, hands-on understanding of materials, fabrication and workshop realities. They are joined by architect Filip Trajkovski, whose architectural perspective and strategic vision shape the gallery’s positioning and dialogue with professionals. Together they share a common working method: operating with rigor and discretion in service of the designers they represent.

The gallery’s online platform launched on 20 January, where Studio Romell is presented alongside a carefully selected group of approximately fifty international designers and studios. The platform is conceived not as a marketplace alone, but as a curatorial extension of the gallery’s physical program, providing collectors and professionals with structured access to contemporary collectible design.

For Studio Romell, the partnership represents more than distribution. Gallery representation is a long-term dialogue. It situates our work within a broader architectural and curatorial context, allowing each piece to be read not only as an object, but as part of a larger contemporary design discourse.

We view this collaboration as a foundation for sustained international presence, rooted in shared values: precision over spectacle, material intelligence over trend, and long-term artistic development over short-term visibility.

It is not a milestone in itself. But it is more than 10,000 individuals engaging with our work, every day.

When we founded Studio Romell, we chose Instagram as our first public channel to present our collectible furniture. Not as a conventional marketing tool, but as a way to observe how a work is received at its earliest stage, when form first encounters an audience.

Our digital presence has always been deliberately restrained. We share little behind the scenes, avoid personal storytelling and keep background noise to a minimum. Instead, we publish direct images of each work, accompanied by carefully selected music, a title that hints at its conceptual origin, and precise factual information. What is now a conscious strategy likely began as caution. In the beginning we were reserved, even hesitant, and it took time before we presented ourselves alongside the work. That visual language has remained.

We believe that form should meet the viewer before explanation. Context, references and artistic reasoning follow later, through our Artist Statements, once a piece is presented in full.

Ahead of the 2026 collection, we began using digital platforms more actively as an analytical tool, primarily through short-format publications. Despite being one of the most competitive environments for organic visibility, these channels have consistently provided meaningful reach. Audience response has, in practice, influenced both the sequencing and prioritisation of our production schedule.

This data is also used in dialogue with our partner galleries. It allows us to better understand demand, refine positioning and support pricing before works enter the physical market. A recent example is the Oblation Bench, completed in January, which generated close to 3,000 responses, over 90 redistributions and more than 600 direct forwards within a single week. The work is now being released ahead of Galerie Lythore’s presentation in Paris.

A significant portion of our audience consists of curators, gallerists and collectors within the contemporary collectible design field. For Studio Romell, digital platforms currently provide the most direct interface with this ecosystem. They function not as promotion alone, but as an early market instrument.

The platform remains. The audience remains. And the dialogue between form, public and market continues to shape how we build Studio Romell.