All our silhouettes

An acanthus-volute cartouche wraps the curve of the Classica Round: two symmetrical scrolls unfurl in an S on either side of a central medallion, ready to hold a finial, a heraldic emblem, or stay bare. A silhouette conceived as a jewel case, equally at ease mounted vertically or horizontally: the baroque framing of grand Parisian townhouse pediments brought down to the scale of a cabinet handle, on two mounting points.

A round classic silhouette with generous curves and a soft profile that welcomes the hand, a shape that crosses styles without ever aging. The most timeless version of the cabinet knob.

The Florentine Column brings architecture down to the scale of the hand: a pure cylindrical shaft, held taut between two round plates, emerging from the front the way a column emerges from a wall. A center-to-center bar pull, firm to grip, sculptural to look at. In its Essential version, the cylinder stays bare and the material does the talking, brushed bronze, deep lacquer, patinated metal. It is also the shaft that the Florentine Renaissance loved to cover in scrollwork: a surface ready to receive ornament, or to go without it.

The nude male form of the Florentine Renaissance, Michelangelo and the cult of the body, held within a knob’s torso. Taut lines, honest muscle, a relief that catches the hand as much as the eye: this is Florentine disegno, sculpture that thinks through line, brought down to the scale of an everyday gesture. A single-point knob, reserved for the front that deserves a second look, not the drawer you repeat five times over. Cast and hand-patinated in our Paris atelier.

The Palazzo Square stretches out. Same crisp lines, same softened angles, now in a bar pull format, on two mounting points. A horizontal presence, clean and confident, equally at home on a large kitchen front or a low cabinet. The Palazzo design, simply drawn out to match doors that ask for more.

The Palazzo Bar, in a finer version. Same architectural lines, same recessed frame that plays with shadow, same slightly set back front face, but drawn into a compact format with two attachment points. A half measure that isn’t one: enough presence to structure a drawer or a small door, enough restraint to never weigh it down. The Palazzo design reduced to its essentials, where the full bar would ask too much and the knob too little.

A square silhouette with precise architecture: softened corners, a stepped frame that plays with shadow, a slightly recessed front face that adds depth without overloading the form. The Palazzo Square’s geometry works as well on a contemporary kitchen as on an antique dresser, and adapts to standard fronts without losing its character. A sober, premium detail that evokes an Italian palazzo, minus the budget that comes with one.

The whole female nude of the Venetian Renaissance, brought down to the scale of a hand: a full torso with softened curves, where light glides without ever catching. Where Florence draws, Venice models, and it is that fleshly softness, the one Titian painted, that the Venetian Torso brings to a front. A single fixation point knob, it is not meant to repeat across every drawer: reserve it for the door, the dresser, the piece you want people to look at. A small sculpture to hold, cast and hand patinated in Paris.