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Ulysse Sauvage
Behind the brand
Margot, glassblower and founder of Ulysse Sauvage, hosts us in her Parisian studio to talk about craftmanship, design, and inspiration.
How did it all start?
After high school, I studied arts at La Sorbonne Paris University, and then at Les Beaux-Arts in Brussels. During my studies I started taking interest in glass, and my first creation was a mobile sculpture. I got in touch with a glassblower who helped me; it was my first contact with the profession. This experience sparked a desire to learn more, but unfortunately, the Beaux Arts program did not offer any option for glass design. To specialize in this craft, I had to move to Berlin, where I started glassblowing classes. For a year, I attended a small workshop near my place twice a week to participate in the classes. Then, I came back to Paris to pursue training in the glassblower program.
Why did you decide to create your own studio and brand?
When I started, I worked as an employee in a scientific glassblowing company in Toulouse, specializing in the manufacturing of laboratory equipment. This experience allowed me to refine and improve my technique; glassblowing requires an extensive learning process before achieving a perfect mastery of the techniques.
In 2020, I ventured out on my own to establish my studio, aiming to explore further into my creative universe. While my work in Toulouse taught me a lot about the techniques, it was time for me to delve deeper into the artistic side of glassblowing, and this could only be achieved by starting my own business.
What inspires you?
I love the design of the '60s and '70s. In fact, all my designs have round shapes; rounded lines are very interesting to create. More recently, I have a keen interest in Jochen Holz’s work, an English glassblower who also works with a blowtorch on borosilicate glass, which is quite rare.
I love his artistic universe and unique approach; he crafts one-of-a-kind pieces by embracing the flaws of glass and incorporating a vibrant array of colors. It's beautiful.
Can you tell us more about the type of glass you use?
I only use borosilicate glass. It’s used in laboratories to make their materials and by kitchen brands like Pyrex. It’s a highly resistant glass, more solid than the classic glass. It's much more resistant to heat and cold, which means I can make very thin pieces that won't break.
What is your creative process?
I work directly with the material, conducting tests with the blowtorch. Once I achieve an interesting style, I spend a lot of time improving it, checking the sturdiness, and adjusting proportions before reproducing it. I never pre-draw my models; it doesn't suit my work method. I prefer to skip this step to create more freely. When I start a new object, I know what I want, wether it’s a carafe, a glass, or a vase but the design and the form remain vague until I work with the material.
What is the most crucial and delicate step?
It depends on the objects, but for the stemmed glasses, for example, there are two welds to be made: one at the base holding the stem and another attaching the bowl. These are, in my opinion, the two most delicate steps because if they are not well respected, the glass can break. These details are crucial for the solidity of the final piece. In glassblowing, there are specific techniques to master and processes to follow. All these techniques are quite challenging and require a long learning process to ensure the quality of the final objects.
If you could choose, what would be your favorite piece among all those you have created?
It’s the stemmed glass, my very first design, and it immediately had a lot of success. Even today, it’s one of my creations that performs best. I am very proud of it.
What advice would you give to a beginner?
My first advice would be to be persistent because becoming a glassblower takes a considerable amount of time. I am still an apprentice glassblower myself because it takes about ten years to fully master all the techniques: understanding how the blowtorch works, anticipating the reactions of the material, and so on. Above all, do not be afraid to start over, make mistakes, cut, burn, start again and again, to soak and learn.
What would be the next step for you?
I would like to make bigger pieces like large vases. Until now, I’ve always made small pieces and it’s time for me to try bigger objects in limited quantities. I would also like to add some colors in my creations.
How do you color glass?
There are several techniques to color glass, we can either purchase pre-colored glass tubes, or color the glass ourselves by using tinted glass powder.
Could you share a few thoughts about Centre Commercial?
I know Centre Commercial very well. When I started my own business I worked part-time at APC, the shop across the street. I used to step by very often, and today I’m on the other side, as a carried brand. It’s symbolic for me.
Ulysse Sauvage
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