Iconic Designs Television Series

The core principle behind ICONIC DESIGN[S] is to consider design not as decoration, but as culture made visible.

We started with a simple idea: everyday objects are never merely objects. A chair, a lamp, a pen, a bottle or a car can embody an industrial, aesthetic, social and human history. They accompany our gestures, transform our habits and tell the story of their time. Each of us also develops a personal relationship with them.

Our ambition was to reveal this richness through a short, accessible and highly considered format.

Olivier Felix Isselin:

I am not interested in simply showing objects, but in revealing what they contain. An iconic object can never be reduced to its appearance. It represents a balance between intention, use, technology, a particular period and a culture. When that degree of precision is achieved, the object moves beyond its function and becomes a witness to its time.

Maxime Golay:

What mattered to me was that viewers should never feel as though they were watching a programme about design. I wanted them to discover a story. To think, “I know this object, but I had never looked at it that way before.” If, after two and a half minutes, they no longer see that object in quite the same way, then we have succeeded.

Our main focus was clarity.

We wanted to create a short, precise and visually rigorous format that could speak about design without becoming academic, decorative or nostalgic. The aim was not to say everything, but to make people want to look differently.

Each episode is built around one object, one story and one central idea. In two and a half minutes, we try to reach the essence of the subject without oversimplifying it.

Our ambition was straightforward: after watching an episode, viewers should no longer see the object in quite the same way, and they should want to learn more about it.

Our current priority is to find a distribution partner and develop ICONIC DESIGN[S] as an international short-form cultural series.

The pilot episode, devoted to the Tolix A Chair, allowed us to establish the project’s visual identity, narrative rhythm and editorial direction. It is the proof of concept upon which we intend to build the series.

Ultimately, our ambition is to devote each episode to an iconic object from a wide range of fields, including furniture, everyday objects, fashion, transportation and industrial design.

We see ICONIC DESIGN[S] as a format that can exist on television, on digital platforms and within cultural or museum settings. This initial series could later lead to new formats, special editions or thematic collections.

Olivier Felix Isselin: The three-part structure emerged quite naturally. The intention was not simply to present an object, but to organize a progression of perception. An iconic object does not reveal itself all at once. First, it is recognized. Then, one moves closer to it. Finally, if one truly observes it, it begins to speak about something beyond itself: an era, a way of using things, a culture, a way of life.I wanted each episode to unfold like a small architectural composition: an introduction, a development, and an opening.The introduction establishes the object. The exploration reveals its lines, details, materials and underlying logic. The reflection moves beyond simple description.We deliberately chose not to explain everything directly, because design is not merely a subject to be commented upon. It is a matter of proportions, rhythm, silence and relationships. The image therefore had to think alongside the text.Maxime Golay: For me, this structure also helps guide the viewer. We do not throw the audience straight into an analysis. We accompany them. First they see the object, then they enter into it, and finally they understand why it matters.Rhythm is extremely important. In 150 seconds, every shot must serve a purpose. There is no room for distraction.What I particularly like about this format is that it remains accessible. A viewer can simply enjoy the beauty of the images and then suddenly realize that they have learned something along the way.

The 150-second format was never conceived as a limitation. It was conceived as a form. A constraint, certainly, but a productive one.In such a short episode, it is impossible to say everything. That is precisely what forces us to make choices. We must find the right narrative thread, the right detail, the right sentence. Short formats leave no room for imprecision.ICONIC DESIGN[S] is not intended to replace a book. The series offers an entry point. It does not simplify design; rather, it creates the conditions for an initial understanding. It encourages viewers to look differently.At a time when images are consumed at great speed, we wanted to create a short format that would not be superficial. A short format can be demanding. It can be dense. It should respect the intelligence of the audience.Perhaps this is what a certain future of design education looks like: not explaining everything, but teaching people how to see, without overwhelming them with information.ICONIC DESIGN[S] can act as a catalyst. It can inspire the desire to learn more, to look longer, and to better understand what lies behind objects we thought we already knew.

Olivier Felix Isselin: The use of 8K capture and motion control was never intended as a technical demonstration. It was a response to the subject itself. Filming a design object requires a certain form of respect. Precision is not a luxury; it is a methodology.An iconic object exists through its proportions, assemblies, material choices, curves, angles and often through details that are almost invisible. The robotic arm allowed us to approach these elements with an almost analytical level of stability. In that sense, the process was very close to architectural drawing: observing accurately, framing accurately, and directing the viewer’s gaze with precision.To me, good design has always been about accuracy and appropriateness. A successful design is not only beautiful; it organizes, solves problems and endures over time. The image had to convey that idea.Maxime Golay: On set, this level of precision changes everything. Every movement is prepared. Every camera move matters. It imposes a strong discipline, but it also creates a great deal of freedom because you know exactly what you are looking for.With an object such as the Tolix A Chair, for example, the robotic system allows you to reveal things that a more approximate movement would miss: the spaces, the lines, the balance of the composition. The camera does not move around the object simply to create attractive images. It serves a purpose: understanding the object’s form.