After studying at the Boulle school, this Marseillaise opened her interior design agency, Design&fils in Paris in 2004. Since then she has been creating objects as well as set designs, and working on both residential and commercial projects. Her daring and perspective has already seduced many creative personalities including Amélie Pichard and the Columbian designer Esteban Cortazar, who have entrusted her with the most singular of projects.


Marion instinctively blends genres and eras and isn’t afraid to nudge the limits of good taste with projects that draw on the 1980s and 90s.
Once the plans and volumes have been decided, Marion engages in a profound dialogue with her clients to ensure that their personalities are revealed through the choice of furniture, materials and the decoration.
With a leaning towards a certain idea of modernity.
The projects entrusted to the agency are born from specific encounters and are extremely varied. This allows the agency to fully question each new adventure and to materialise desires, with needs reconsidered every time. From Sophie Calle, for whom she rethought her house-workshop, to Amélie Pichard with whom she co-signed a cinematographic boutique with erotic undertones in the heart of Paris, Marion always takes her clients to places they hadn’t even dared to imagine.


Her audacity and sense of detail and materials triumph when she moves her cursor to meet the scale of the object. Her free spirit and sense of humour allow her to go beyond the frontiers of different eras all whilst referencing them with brilliance. She pays tribute to the master of Italian design Gio Ponti by reinterpreting his Superleggera chair in a bronze version that’s difficult to move with two hands. She takes objects out of context such as windscreens that she has introduced into our interiors as sculptural mirrors. She assembles the material samples refused by her clients… Marble and granite to form “Sample Vases” that look like handbags. For her objects, Marion Mailaender uses details from everyday life that could be perceived as anodyne, yet nevertheless form the basis of a memory to reactivate.


Embodying a certain notion of the new French scene, Marion draws strength from her references and the artists around her. It is not uncommon to find within her projects, pieces by her favourite designers such as Mario Botta and Ettore Sottsass that she finds in her workshop, which she occasionally transforms into a gallery. Thus, design from the 1980s sits alongside the work of her artist, photographer and designer friends.