Fontennoy
Camille-Victoire’s Metamorphoses
Camille-Victoire Laruelle, founder of Fontennoy, opens the doors of her atelier to reveal the secrets of her creative world. How have her studies of Chinese history shaped her vision of jewelry? What are the inspirations that guide her creations? And how does she combine tradition and modernity in her pieces? The answers await within.
Hello Camille-Victoire, how are you? Can you tell us a bit about yourself, who you are, where you’re based, and what you do?
Hello! My name is Camille-Victoire and I am the founder of Fontennoy. I was born in Finistère, in the west of France and I now live in Rennes. In another life, I was a Ph. D. student in contemporary Chinese history and a university lecturer. I explored that field for six years, but finally decided to leave it at the end of 2021, at the age of 28, when I decided to found my jewelry brand, Fontennoy. Creating has always been an important part of my life. Founding Fontennoy was a way for me to build connections with those around me and, most importantly, to reexamine my identity and the world I belonged to.
How did your doctoral studies in contemporary Chinese history influence your approach to jewelry design?
During my doctoral years, I learned to gather knowledge on a wide range of topics, always aiming to broaden my research to create a sort of “knowledge tree.” At the time, I had to conduct field research in China to interview women who had lived through the communism of the 1950s. It was something I had never done before and found quite intimidating. Taking on this work helped me understand that it’s possible to be self-taught, but it also showed me the importance of personal discipline. To be honest, I don’t yet have the full perspective on this period of my life or how it influences my current practice. I guess it’s a work in progress that will gradually reveal its answers!
What are the main artistic influences that have shaped your unique style?
I greatly admire the work of René Lalique, associated with the Art Nouveau movement in France. I’m also very inspired by the “École de Nancy”, a multidisciplinary movement rooted in nature that developed at the beginning of the 20th century. French cabinetmaker Louis Majorelle, from this movement, engraved a phrase I find very meaningful on the door of a famous decoration workshop: “my root is deep in the woods.” The essence of this movement was creating artistic works as well as everyday objects inspired by the fluid forms of nature. Many artists drew inspiration from botany and naturalism, showing an awareness of their environment. I find this approach very inspiring, and I strive to emulate it.
What was the transition from history to jewelry making like? What sparked this change?
For much of my life, I was immersed in an academic and scholarly environment. I went through many rigorous courses, from preparatory schools to a double bachelor’s degree, and then a Ph.D. At that time, I was convinced my identity was defined by the label of a “good student,” yet I never quite felt I belonged. Meeting my partner helped me ask myself the right questions. In 2021, I decided to turn the page and, above all, to listen to myself by giving meaning to a passion I’d always had: creating things. It was a difficult transition as it forced me to rethink who I thought I was. Today, I’m very happy with this change, which has allowed me to (re)discover myself and live in alignment with who I truly am.
Can you tell us more about the creative process behind your jewelry? From the initial idea to the finished piece, what are the key steps?
It depends a lot on my mindset and creative energy. Generally, I have a theme in mind around which I circle for days, even weeks, without necessarily creating anything. When I feel ready, I start sketching, and once I’m satisfied, I begin sculpting the jewelry in wax. Depending on the model's complexity, it can take me from a few hours to a few days to complete the final wax prototype. If I want to produce it in series, I’ll have it molded before sending it to Ardèche, where it’s cast in metal.
How do you choose the legends and beliefs that inspire your creations?
It may sound simple, but I always choose what attracts and resonates with me most. I constantly research topics that speak to me, expanding my exploration to anything remotely related to them (maybe a hint of my research background). I read academic articles, old books, watch films, or explore paintings. This allows me to create thematic mood boards that guide my choices. Most of all, I talk about what I love and what moves me.
How important are preparatory drawings in your creative process?
They’re becoming increasingly important because my creations are becoming more figurative. They are based on very precise drawings that serve as a blueprint for the piece. I have a strong connection to drawing since it was the first artistic practice I developed and has always meant a lot to me.
When I decided to leave the academic world, I was drawing many intertwined organic shapes, which inspired my jeweler’s hallmark, the Gordian knot. It’s a powerful symbol for me because “cutting the Gordian knot” means solving an apparently inextricable problem through a decisive action.
I’m an only child, and I’ve always had a close bond with my parents. When I decided to leave academia, it was a sudden break from a world I had always known, a world that had defined me. But more than that, it was a way, however belatedly, to “cut the cord” between my parents and myself. Interestingly, my parents recently reminded me that, even as a child, I would tie knots all over the house using whatever I could find.
Could you tell us about your new collection?
Culte Solaire is about the little magic of everyday life. In the past, especially in rural communities, people relied on “apotropaic” practices. Apotropaism is the idea of warding off evil or bad luck through rituals or objects, often tied to key points in the year, like harvests or seasonal changes. Some might call it superstition, but I see it as a way to marvel at the everyday and find the strange within the ordinary. This heritage is still alive today. In my grandfather’s hometown, Fontenoy-leChâteau, we build large wooden structures (castles, tractors, bridges…) every year and burn them on Saint John’s Eve. Culte Solaire is also inspired by legends and tales, a theme I want to develop further in Fontennoy’s future. Legends and tales are fascinating because they allow us to move between the very abstract and the very concrete. For me, it’s a way to explore deeply human issues like the fear of change, self-discovery, or losing control by weaving a rich narrative and visual universe. For this collection, I drew inspiration from pre-Christian and Christian legends from French Brittany, with stories of young girls lost in the sea’s depths and Breton saints crossing the seas on strange boats...
Why did you choose to work with recycled materials? What materials do you use most often?
I’m not saying that jewelry and its production are ecologically impact-free. However, it’s possible to highlight local production that aims for the greatest transparency with minimal impact. This is something close to my heart, and I know it’s possible today to produce a 100% French-made piece of jewelry without relying on foreign workshops, while reducing the ecological impact. It’s a way of valuing French craftsmanship and creating pieces that last and can be passed down. Currently, I mainly use 100% recycled silver certified with the Origine France Garantie label, which ensures that all the silver used comes exclusively from the French market. I also use vermeil, silver plated with a layer of 23-carat gold 5 microns thick. The gold plating is up to 70% recycled.
Where is your workshop located, and how do you organize your production between Brittany, Ardèche, and Doubs?
My workshop is located in Rennes, in Ille-et-Vilaine. When a wax prototype is created in my workshop, it’s sent directly to Ardèche to be cast in silver. It’s a small family business run by a brother and sister. Once the piece is cast, I rework, solder, and polish it. Finally, the piece goes to Doubs for the final step—plating. This process involves rather long production times, but I’m thrilled to work with these artisans.
How would you define the Fontennoy universe in a few words?
It’s a vibrant brand that speaks of imagination and, above all, tells stories.
What emotions do you want to convey through your creations?
Since I was a child, I’ve loved hearing stories. Being an only child, my childhood was built on my ability to dream and marvel. I still listen to stories today and remain fascinated by the world of imagination. Even as an adult, I maintain a very rich inner world that I’m eager to share. I think I mainly want to create beautiful things and connect with others by telling stories.
How does your attachment to Fontenoy-le-Château influence your work?
Fontenoy-le-Château is like a little reminder in my mind that the most important thing in life is to feel at home. This village mainly influences my work by reminding me to create what I love and to do things well. My entire family is from eastern France, but I grew up in Finistère. My maternal grandfather, who lives in Fontenoy-le-Château, embodies the very hands-on part of my family heritage, which I wanted to honor.
How has your grandfather marked your vision of nature and creation?
My family history is complex, and I only met my paternal grandfather later in life, in my twenties. I discovered a very humble man who lives almost self-sufficiently in a remote, somewhat wild, and almost deserted village in the Meuse region. He grows his own fruits and vegetables, distills his own alcohol, and lives off the land. It’s rare today, but he’s a man who lives in harmony with nature: he spends his days in the forest, knows the names of all the animals and trees, and has a very serene outlook on life. For me, it’s the most beautiful legacy one can leave behind. My grandfather also reminds me of the truth and simplicity found in manual work.
How do you see your creative universe evolving?
My wish is to keep listening to myself by creating what inspires and moves me. I also really enjoy collaborating with other artists and creating custom pieces because these experiences allow me to challenge myself and immerse myself in the world of those around me.
Anything else you’d like to add?
I am truly delighted to have discovered Blumenhaus this year. It’s a wonderful way to highlight the incredibly inspiring community of artists and artisans that exists around the world. Above all, I’m thrilled that new generations are reclaiming and reinterpreting traditional skills and customs in fresh ways. This brings a lot of positivity and beauty to a world that isn’t always very cheerful.
Fontennoy - @fontennoy
www.fontennoy.com
Illustrations - Camille-Victoire Laruelle
Pictures - Claire Panizzolo @clairepanizzolo
Agence Aatlas @agenceaatlas
Straw top - Emma Bruschi @emma.bruschi