We sat down with Yann Jallu and Sandra Scolnik-Jallu of Jallu Ébénistes, along with Jessica Kalweit, founder of RUNE, New York, to discuss our collaboration on a series of exceptional pieces. Jallu Ébénistes is a distinguished decorative arts atelier and RUNE, New York is a curatorial platform dedicated to collectible design. In our conversation, we explored their creative philosophies, approach to collaboration, and dedication to elevating contemporary craftsmanship in the world of collectible design.

Founded by master cabinetmaker Yann Jallu and designer Sandra Scolnik-Jallu, Jallu Ébénistes specializes in rare materials such as shagreen, parchment, and straw marquetry, blending time-honored French craftsmanship with contemporary sophistication. Each creation is a testament to precision, artistry, and material innovation, redefining the boundaries between furniture and sculpture. With a legacy rooted in tradition and a vision for the future, the studio continues to shape the world of collectible design through bespoke commissions and collaborations.

Jallu Ébénistes is renowned for their excellence in furniture design and craft. Can you describe the origins of the company?

Yann and I met in 1999 in Williamsburg, Brooklyn, where we worked for the same company at the time. He had just achieved the title of Compagnons du Devoir furniture maker and moved to NYC to work for Atelier Viollet. I was working there part-time in admin/marketing while also pursuing my art career, painting and exhibiting in the city. We became a couple, and in 2003, we had our first child. Two years later, we left Brooklyn and moved to Brittany, France, so that Yann could open his own workshop and we could be closer to his family.

In the early years, I continued painting while helping Yann part-time. But when the financial crisis hit and the art market collapsed, I decided to step away from painting “for a year” to focus on the business. To say money was tight would be an understatement. When we had no client work, we used whatever materials we had—leftovers from other projects—to design and build furniture. Yann was always curious about materials, and I loved designing, so we enjoyed the process of creating together. We were surprised by the positive response we received from our clients for our creations. A year in, we hired our first apprentice, then another. They stayed, the business grew, and we eventually moved into a larger, more modern workshop. Nearly 20 years later, here we are.

How would you define the ethos of Jallu?

From the start, our goal was simple: to create beautiful furniture. Like any business, we had financial objectives, but what mattered most was building a company that valued creativity, challenged tradition, and pushed the limits of furniture making. Equally important was creating a workplace where people felt valued and respected—a place where we would want to work ourselves. We also wanted to work with clients who appreciated the craftsmanship and care we put into every piece. Respect goes both ways and for us, that has always been essential.

Jallu’s pieces include unique and rare material finishes such as straw marquetry, selenite, pyrite, etc. What draws you to the materials and how do they shape the creative process?

The fascination with these materials stems from the fact that they were used during the Art Deco period! Yann has a deep appreciation for this era of furniture design and sought to bring the savoir-faire and craftsmanship of these materials into the 21st century. This curiosity and interest in the materials serve as the foundation for the creative process.

What does the process of collaboration look like at Jallu, whether with interior designers, collectors, or with a representative like RUNE, New York?

Collaboration is at the heart of our work. Every project is a collective effort—whether within our team, with RUNE, New York, or alongside the designers we partner with. Each collaboration is unique, but the goal remains the same: ensuring that every voice is heard, every contribution is valued, and mutual respect and good intentions guide the process.

Jallu’s work exhibits a level of artistry that transcends functionality. Do you view your pieces as furniture, sculpture, or somewhere in between?

Our pieces are, without question, furniture—but not just any furniture. We strive to create the highest quality, most refined pieces—museum-quality works designed to be passed down for generations.

Jallu has also created a pair of nightstands for the bedroom in the project. Can you describe the design directive for these?

Great design is rarely the product of a single mind. It emerges through dialogue, refinement, and the shared expertise of designers, artisans, and clients. This project exemplifies this process and highlights the value of strong collaboration in design. When Pembrooke & Ives approached us with a request inspired by one of our existing designs, the designer provided a quick pencil sketch—an idea in its earliest stage. From there, our design team in Brittany, composed of specialists in furniture design and finishes, refined the concept. We explored proportions, materials, and technical details, ensuring the final pieces would meet both aesthetic and functional expectations. We also developed and presented finish samples, allowing the designer and client to make informed choices that aligned with their vision. This exchange between client and maker is what makes custom design so rewarding. The client brings inspiration, preferences, and a sense of how the piece will fit into its environment. The atelier contributes expertise, craftsmanship, and the ability to translate an idea into a tangible, enduring object.

Our client has commissioned custom pieces from Jallu in multiple homes. How do you approach fostering relationships with collectors?

We believe the strongest relationships are built on trust. For us, that means delivering the highest quality work, meeting deadlines, and honoring our commitments.

Is there a clear connection or common thread between the artists and makers you represent?

First and foremost, all of the artisans we represent produce sublime work. They are truly some of the most innovative, creative minds around. What I find most interesting is that much of the work speaks to traditional craft, whether plumasserie, marquetry, embroidery, or fine furniture making. Yet, it upends much of the traditional execution and technique. While Jallu’s work finds inspiration in Art Deco pieces, their collection embodies a decidedly contemporary viewpoint. Janaïna Milheiro’s featherwork comes entirely from her own savoir faire – none of it executed in the style of traditional French feather working. Richard Wrightman, whose work speaks the vernacular of Campaign Furniture, also designs sleek seating in metal. Everyone we work with is open to customization and collaboration, which is not always the case with artisans. When you are working on primarily bespoke commissions, it’s important that design ambitions pair with the soundness of craftsmanship, and that is really where we shine. It’s wonderful to dream something up, but you must also be able to execute, and the artisans we represent are all incredibly capable, reliable, and collaborative.

What is it like working with interior designers?

I have such respect for the practice of interior design as a whole. The fun part of my job is taking the show on the road, visiting interior designers’ offices, and hearing about their exciting work. The necessary part is reviewing every little element of every piece we bring to life. Nothing goes into production without extensive review from RUNE, New York, the artisans’ team, plus approvals from the designer! I always say, I can’t fathom how designers do this for every single element of every project they are working on.

With Jallu, we have made some fabulous vanities, pieces with integrated lighting, etc., and I am always blown away at the designers’ depth of knowledge on everything from plumbing to electrical to decorative elements like marquetry and embroidery. Working with educated vendors is a huge help, but designers’ capacity for detail is really something to behold! They’re also a really fun bunch. We’re lucky to be able to collaborate on projects with clients who have become dear friends.

How does Rune, New York facilitate collaboration between artists and collectors?

Primarily, we’re working with interior designers who are curating their clients’ collections. I’ve worked in the industry for many years and developed longstanding relationships with designers, who likewise have created longstanding relationships with their collector clients. Many of the projects on which we work (including this project with Pembrooke & Ives!) are new residences for the same collectors – we love coming up with bespoke pieces that speak to the client’s taste but are different from the pieces they have purchased in the past. We’re happy to help, but frequently, the direction comes from the creative mind of the interior designer on the job.

Have you noticed any shifts in collector interest, whether in terms of materials, styles, or conceptual themes?

One of the things I love most about working with Jallu is that Sandra is a bit of an oracle when it comes to predicting what’s next. When I started working with Jallu in 2012, very few designers were using straw marquetry in a meaningful way on their projects, and now most everyone is familiar with the technique. Perhaps she’s just building a Field of Dreams on repeat, but I always have ultimate faith in her latest collections! Jallu has just launched new work in Mica – creating really beautiful pairings of wood and rare mica colors – green, turtle, etc. Speaking more broadly, I think we are about to see a revival of more classical pieces. A move away from very stark, or maybe just a pairing of stark and more ornate work.

Where can people see work from Jallu Ébénistes, as well as other artists RUNE, New York represents?

We have a very small office right on Madison Square Park. It’s certainly not a gallery, but we do have a few select pieces (and many very fabulous samples) in the space. Otherwise, depending on the artist, we have many pieces on view in public spaces around NYC (& beyond!). We’d be happy to meet at a Cartier location to view some straw marquetry panels or visit tasting rooms at Opus One for a sit test of Richard Wrightman’s chairs. Lalique is also opening a newly renovated Beaux Arts townhouse on the Upper East Side as their global retail flagship this Spring!