Metal of tomorrow

Quentin Pontonnier, the visionary mind behind Tant D’Avenir, delves into the world of handmade jewellery and intricate designs. In this interview, he speaks about the inspiration behind founding Tant D’Avenir, the significance of Paris in shaping its design philosophy, and the meticulous creative process that brings each unique piece to life.

hube: What sparked the inspiration for founding TANT D’AVENIR, and how does the name reflect the essence of your handmade jewellery brand?

Quentin Pontonnier: Tant D’Avenir turned out to be a very spontaneous adventure. I developed a passion for jewellery and fashion design very early on. After my jewellery training at the Ecole Boulle, I made my first personal creations in my bedroom while working on the side to earn money (cook, reception, delivery…) I soon realised that what really drove me was my project and I ended up devoting myself to it full-time: I became my own boss. The name Tant D’avenir is a wordplay. “Tant” in French is pronounced like “time” and it means “so much of”, so it really represents the energy of the brand. We want our brand to have a great future and be full of ambitions. Also, a brand that is edge-cutting and new in terms of style. We aim to rework different styles — from classic to retro-futurist to art deco — by putting Tant D’Avenir into them.

h: Paris is known for its rich artistic heritage. How does the city’s cultural ambience influence your creative process and the design philosophy of TANT D’AVENIR?

QP: Paris is incredible and has a huge influence on me. I’ve even dedicated two of our classic rings to it, featuring the Paris coat of arms. The city has been my inspiration since I was a child, whether in terms of its Haussmann architecture, fashion, or skate culture… When I was younger, I was a member of a skateboarding team in the 13th arrondissement, and we skated everywhere, especially in the Parisian “beaux quartiers”. Seeing this new architecture —  and not just the skyscraper of the 13th arrondissement — inspired me enormously. This city will always be one of my favourite playgrounds.

h: Could you share your favourite material to work with, and how does it contribute to the uniqueness of your jewellery pieces?

QP: It’s hard to say because the DNA of Tant D’Avenir has long resided in the use of sterling silver. It’s still a precious metal but more affordable than gold or platinum. By working with great thicknesses we can have fun creating jewellery that will stand the test of time just as well and that more people can afford. It’s also an advantage for unique pieces which we would never be able to make if we used gold or platinum. It will remain an emblematic material for me and the brand. But our vocation is L’Avenir (French for “The Future”) and I’m enjoying working with precious stones and gold more and more.

h: TANT D’AVENIR pieces have a distinctive style. How would you describe your signature design elements, and what emotions or stories do you aim to convey through your jewellery?

QP: We have lots of signature design elements. First of all, there’s patina. Our jewellery already has a special aesthetic because we’ve managed to master oxidation and give it a “shaped by time” look. We always look for the very best materials, especially when it comes to our selection of semi-precious stones.

We develop a lot of patterns for our creations. For example, we designed a unique shape for our rings — they are full of details from the inside. For our latest collection NO SIGNAL the inner rings feature small alien sculptures. Finally, our signature symbol, the column, — always revisited, symbolising our desire to last while redefining itself each time.

We want people to fall in love with our jewellery — this is the emotion we aim to evoke. All our creations tell a very special story because of their influences, their shape, and the way they are worn. What really matters is the coup de coeur effect — the jewel is seen as a piece that will be worn and passed down through time.

h: Handmade jewellery adds a personal touch. Could you walk us through your creative process, from conceptualization to the hands-on crafting of each piece? Are there any rituals or routines you follow during this process?

QP: I love the creative process of making jewellery. It’s a lot of coffee and long sleepless nights but it gives you that indescribable thrill. Usually, it pops with an influence: a trip, a movie, a feeling, an artistic movement… it can happen at any time. Partially, that is why I always work on several collections at once.

Then I draw. Pencils and sketchbooks have become my obsession. I explore shapes and volumes and only think about the object. It’s so important not to restrict myself on my artistic path! I refuse to do so. At this point in the creative process, I’m in my own bubble. I only draw in bed. My bedroom is my world, I have my lights, lots of music, my books, my inspirations…

Then comes the design part, where it’s a question of providing a technical point of view, so we work out our shapes, try them out, and do a lot of improvement directly in the studio to get the perfect model.

h: Collaboration often brings forth new dimensions in art. Have you ever collaborated with other artists or designers, and if so, how did these collaborations influence your creative vision?

QP: We’re always open to collaborations, it’s a way of broadening our vision and sharing our perspectives. For the moment, we’ve only done one collaboration with the music group La Femme —  designed the group’s emblematic ring. This collaboration was an opportunity for a brilliant creative exchange with the group that I adore. We thought through every detail of this signet ring.

So far we’ve never had the opportunity to work on other collaborations, particularly more fashion/accessories and jewellery collaborations. We’re ready for it and we’d certainly appreciate it.

h: Your designs seem to showcase a lot of different “smoot” shapes. What makes you opt for such shapes, and what role do forms play in your design choices?

QP: As I said earlier, we thought about a special shape for all our rings. Each curve that I design and that we create must strike a balance between the expression and the lines of the body. Tant D’Avenir jewellery is made to be worn like a second skin and to express a coherent extension of the body. Every detail is designed to highlight the jewel and be as practical as possible. 

h: Every artist faces challenges. Can you share a particular challenge you’ve encountered in your journey as a jewellery designer, and how did you overcome it? On the flip side, what has been one of your most satisfying moments or accomplishments?

QP: I think the first one is to manage a business and be a designer at the same time. Each piece I create has to be an authentic expression of my vision and appeal to our audience at the same time. Having a shop and employees to make everything by hand in Paris is a constant challenge.

On the other hand, one of the most satisfying challenges is creating unique body pieces. As I said, the process is long and requires a lot of thought and exploring new techniques. The one-off piece is the opportunity for me to work freely, even if there is a constraint of the financial aspect. It’s a challenge because we’re working on it with our own resources and we want to create something spectacular. With these pieces, I try to do “jewellery couture” —  I make dresses, belts, suits, and masks, always combining them of gems and metals. I was inspired to make these pieces by fashion and iconic shows that have left their mark on me, such as Shaun Leane’s piece for McQueen in the la poupé show, or Hüseyin Çaglayan’s articulated dresses.

All these pieces are such an achievement that we keep them in our archives and present them in our boutique or for photo shoots, but not for sale. The ultimate goal would be to do a fashion show.

h: What are your plans for the future of TANT D’AVENIR? Are there any new techniques, materials, or themes you are excited to explore in your upcoming collections?

QP: We have several plans for the future. For materials, it’s to expand our range towards more fine jewellery, more precious stones and metals to explore new creations. One of our goals is to be present in exciting places, in shops that match our vibe in France and abroad, to offer our creations to a wider public.

In terms of design, the future of Tant D’Avenir remains similar to what we stand for now —  reworking both our classic designs and exploring other themes through creative collections while keeping a balance between our symbols, our history and the future.

h: For budding jewellery designers, what advice would you give to help them navigate the creative and business aspects of the industry, especially in the context of maintaining a handmade and artistic approach?

QP: It’s so hard to set up a business in France, it’s a very elitist and closed environment, especially if you want to keep an authentic, artisanal, and creative approach. My only real piece of advice, and the one I apply every day, is to believe in what you’re creating with a lot of determination. Never let go of this artistic and creative approach. The rest, I’m sure, will come after.

I also wanted to insist on the fact that, like any brand, we’re evolving thanks to a lot of people to whom I am very thankful: Samia Giobellina, Louis Burguet, Andy Picci, and the Tant D’Avenir team.