LE GRAMME approaches the object through the prism of uncompromising aesthetics. His resolutely functionalist approach brings each creation back to the essentials of its material, seeking to achieve a universal emotion because it is instinctive for everyone. A bias that clearly echoes the famous Bauhaus school founded 100 years ago. LE GRAMME claims fundamentals shared with this movement whose influence continues to fuel designers, architects and artists.

“The final goal of all creative activity is construction.” When he wrote the Bauhaus manifesto in 1919, the architect Walter Gropius - its founder and first director - perhaps did not imagine the extent of the influence of his House of Construction. Having since become a movement, the Bauhaus revolutionized the codes of architecture and design. In just 14 years of existence, the Bauhaus school brought about the era of modernism, the matrix of major movements including the “International Style”.

The first perception when hearing the word “Bauhaus” is often that of the coldness and austerity that one can imagine in post-war Weimar. The Bauhaus school was, on the contrary, a place of life and bustling experimentation, bringing together talents from all backgrounds to provide its atypical teaching: architects and designers (Marcel Breuer, Ludwig Hilberseimer...), painters (Vassilly Kandinsky, Josef Albers, Johannes Itten, Paul Klee), photographers (László Moholy-Nagy), typographers (Herbert Bayer) and polymorphic artists (Oskar Schlemmer).

Passionate about the material and multidisciplinary, the Bauhaus approached the art of metal, glass, wood, textiles, photography and even dance through its workshops led by systematic pairs: an artist and a craftsman. Because this was its vocation: to reconcile art, craftsmanship and industry. In the same way, LE GRAMME objects are the fruit of industrial craftsmanship, in which the precision of the machine is combined with the gaze and gesture of man.

For the Bauhaus, art and craftsmanship had to come together with one goal: to be accessible to as many people as possible, through a common aesthetic, made of simplicity, woven with stripped-down elegance, imbued with functionalism. An approach without frills or ornamentation adopted by LE GRAMME. Convinced that the object only becomes personal through a form contracted to the essential, LE GRAMME combines craftsmanship and technique into a new unity, revealing the material in its simplest and most useful form, to the point of naming each creation uniquely. by its weight.

With its worn and functional objects designed for men, LE GRAMME continues to defend this radical heritage, this aesthetic of modernity with clean lines left by the Bauhaus. LE GRAMME works precious metal (750 Gold, 925 Silver) with simplicity and geometry, rationalizing every detail, to offer a new terrain of emotion to those who share its search for the absolute.