Pinel et Pinel X Joris Ghilini



Fred Pinel asked the artist Joris Ghilini to revisit some of his iconic pieces: Mini Trunks, Colette Tote Bags...
A collab' placed under the sign of the passing of time and our relationship to luxury.
Each bag is a unique work, signed and numbered.

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From the start of the project, the Mini Malle, the Maison’s It-bag, was chosen to be Joris’ theatre of expression. Handmade in Pinel et Pinel’s Paris workshops, this magnificent piece had everything to arouse Joris’ inventiveness.

Forcing the wear and tear of an aesthetic object, designed not to deteriorate over time… It seems an unwholesome challenge. But according to Joris ‘there is no idea of revenge, or violence. Not just a long slow decline into obsolescence. These days, people don’t like that idea.

It’s true that in a world that champions the new, any imperfection or lack of edginess come as a shock. This collab lets us see luxury from a different point of view and lets us accept imperfection.
Joris reappropriates prototypes, and unsold items ... Mini Malles, Colette bags and other iconic products from the Maison. Breathing life into them only to see them degrade.
There’s a fine line between a functional product and a work of art.
The people who acquire these objects will have the freedom to choose, to appropriate them for themselves. They can exhibit them at home or carry them in everyday life.

Work in progress Pinel X Joris


The work of Joris Ghilini is the epitome of that expression ‘a work in progress’.
The bedrock of his work lies on ‘searching for and challenging the notion of iconography’, even if it means putting himself in danger.
For Joris Ghilini, Art therefore becomes an eternal new beginning, an unfinished process.

‘Everything then becomes a pretext to produce, reproduce and come back to it incessantly’. It is the very principle of the palimpsest, the parchment whose text is erased only to be overwritten once more.

Joris’ uncompromising work won Fred over:
‘what I like about Joris is this radical, hard-line approach. In a word: audacity’.

Indeed, Joris gets involved in his work body and soul. He really doesn’t care what people say, he doesn’t care about pretentious posturing.
What interests him is the subject-matter, the object.


Self-taught like Fred Pinel, Joris Ghilini comes from a legal background where he worked as an intellectual property consultant, while continuing his work as an artist at the same time. He abandoned his career in 2009 to devote himself entirely to his passion. It was in the heart of his Paris studio that he began to think up and produce works that play with the notion of time. Guitar Shop (2017), Nike Waffle (2021), Good For Nothing (2022), The Virgin and The Kid (2022) are all compositions that confront us with the very life of an object and how this feeds into our human finitude. Joris Ghilini is an archaeologist of the moment, an artist of subtle paradox. Past and present mingle in his work to take us to the gates of ‘imaginary ruins’.

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