Interview de Glenn Sestig

Interview de Glenn Sestig

Tell us about your studio in a few words.

Our studio's history goes back 25 years. Our adventure began with the publication of our own apartment in ELLE Decoration magazine in London. It all began when a hairdresser sought our services for a complete makeover of his salon. The challenge was to completely rethink the salon in just nine days, a daunting task that we accomplished successfully. This inaugural project won the admiration of the Antwerp community, who used to frequent this hairdresser. This achievement was the starting point that opened the doors for us to renovate many other stores. From 2008 onwards, our focus evolved, adding resolutely residential projects to our portfolio of commercial and institutional projects. We specialize in architectural projects, interior and object/furniture design. Our portfolio includes significant collaborations with major players in the fashion industry such as Raf Simons and Pieter Mulier, strengthening our presence in the fashion field. Our approach is marked by classicism. We start with an in-depth functional reflection followed by a study of both architectural and interior volumes, paying meticulous attention to the smallest details. We take the time to understand our customers' needs and aspirations, whether they belong to a younger clientele with tighter budgets or are looking for a high-end approach. Our top priority is customer satisfaction, whatever the type of project. In short, our studio makes a point of creating spaces that embody diversity and reflect our customers' individual aspirations, whether it's an elegant private residence, a fashion boutique or a humble bakery.


Define your style in a nutshell.

Intuitive: Be able to engage in a variety of projects, discern the customer's requirements and meet them.


Why did you choose Jean-Michel Frank for the La Réserve project in Knokke Heist?

My aim was to harmonize both the talents of different designers and the materials I wanted to showcase. It was essential to adopt a classic approach in synergy with the nature of the hotel. Why Jean-Michel Frank? I had to explain in detail why I made this choice. It was essential to go back to the essence of these designers of the past, such as Jean Michel Frank and others, and combine them with our own furniture creations. This true blend of talents was of crucial importance for this project.


What were your inspirations for this project?

The hotel which was built in the 30s and acquired an iconic aura in the 50s, has witnessed the creation of some great cinematic masterpieces. This institution has maintained its reputation as a timeless icon, imbued with unrivalled splendour and elegance. I wanted to put my imprint by introducing monumental elements, such as majestic ceiling heights and imposing columns. Spaces were deliberately reduced to create an intimate and luxurious atmosphere, while preserving the iconic codes of this prestigious establishment's past. The result is a harmonious combination of minimalism and incomparable sophistication.


What's been your favorite project in your career?

Difficult to answer. It's a tricky choice, because we've always intuitively embraced the projects we've had the opportunity to work on. However, if I really had to answer this question, I'd say that we've always been lucky enough to be involved in some absolutely fascinating projects.


Finally, your favorite piece at Ecart International?

Jean-Michel Frank's 1932 sofa and Eileen Gray's deckchair.


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