Interview with Xavier Champs, President of the French Chamber of Interior Design

Xavier Champs, head of the Saint-Malo-based company Siam Agencement, has been elected president of the French Chamber of Interior Design and its PRO A collective. Following in the footsteps of his predecessor, Pierre Haesebrouck of the Hasap Group, he intends to strengthen synergies between companies in the sector, and above all, to continue raising the profile of the interior design profession and the excellence of its expertise.

Taking Office and Strategic Vision

You have just assumed the presidency of PRO A and the French Chamber of Interior Design. What vision do you hope to instill in the coming years?

The vision initiated by my predecessor, Pierre Haesebrouck, remains our guiding principle: to unite French interior designers and synergize the excellence of their expertise. The work accomplished in recent years has been foundational. Our ambition goes beyond the role of a simple trade association: we want to be an expert collective, truly unifying and representative of our profession. This dynamic begins within our organization itself, with the establishment of a diverse executive committee and a board of directors representative of all interior design trades. In parallel, we aim to strengthen our presence and representation in regions where our presence is still limited.

“We want to be an expert collective, truly unifying and representative of our profession.”

What will your immediate priorities be to support member companies in a changing economic and regulatory environment?

Our industry faces several major challenges, such as increased pressure from foreign competitors, the decline of traditional markets like retail, and the introduction of new regulations. To address these changes, we have already implemented a number of services and solutions for our members. For example, our labor exchange allows our members to subcontract projects, thus ensuring a better distribution of work throughout the year. It also facilitates the formation of consortia to jointly tackle large-scale projects. Regarding the new regulations, they focus primarily on the environmental aspects of our business. Our mission is not to question their validity, but to manage their impact and support our members in implementing their requirements.

The union deliberately maintains a modest size of around 90 members. Why this choice, and how does this scale benefit collective action?

Thanks to this size, our group remains agile, benefits from open governance, and implements effective working methods. Membership is by sponsorship, which fosters a climate of trust conducive to exchange, camaraderie, and building the future. By cultivating this cohesion, we can best defend the profession with public authorities and strengthen our institutional ties, particularly with the French Building Federation (FFB).

Overview of the Interior Design Sector

How would you describe the current health of the interior design sector? What major changes have you observed in the expectations of clients and contractors?

Market dynamics are mixed: the high-end segments are experiencing growth, while the retail sector has faced persistent difficulties for several years. Today, clients prioritize three key criteria in our bids: competitive pricing, the ability to meet the technical and aesthetic requirements of projects, and the capacity to work within tight deadlines. Environmental impact has also been taken into account for the past five years, provided it does not result in significant additional costs. In a constantly evolving environment, it is imperative that our companies adapt to remain relevant.

Is France competitive in high-end or technical interior design? And should professionals be encouraged to position themselves in international markets?

France possesses exceptional skills and expertise in high-end interior design and the management of complex projects. This expertise is recognized and sought after beyond our borders, particularly in Switzerland, Great Britain, Monaco, and the French overseas territories. Our mission, as an institution, is to ensure the continuity of this unique expertise. Some of our members even hold the EPV (Entreprise du Patrimoine Vivant – Living Heritage Company) label.

Interior design often lies at the intersection of design, technology, and engineering. How does this complicate the structuring of the profession and the recognition of skills today?

This is precisely the expertise of the interior designer, as we define it: making the architect's vision a reality. We bring realism to projects without distorting the initial vision of the project designer. This expertise requires a thorough knowledge of materials and their characteristics, the construction of custom-made furniture and structures, the construction site environment, and other trades. The challenges therefore lie particularly in human resources, as we seek well-rounded individuals. Our commitment to various training centers, whether through the provision of instructors or the hosting of apprentices, is one of the keys to this.

Interior designers directly contribute to the quality of life in homes, workspaces, shops, public buildings, and more. Is this role sufficiently valued?

The profession of interior designer is fundamental, yet paradoxically, it often remains misunderstood. Far from being a simple subcontractor specializing in furniture manufacturing, the interior designer is first and foremost a technical designer. Their expertise goes beyond purely aesthetics to guarantee the solidity and technical specifications of all projects. This lack of understanding is partly due to a common practice in the sector: many clients impose a confidentiality clause, prohibiting any communication about completed projects. To promote the profession and its expertise, the PRO A brand was launched in 2019.

How can we better integrate sensory, ergonomic, and inclusive considerations into projects?

Our members are placing increasing importance on this aspect, particularly in the healthcare, early childhood, public procurement, and public building sectors in general. Indeed, we strive to ensure optimal use of our projects by all users. A poorly designed facility risks being misused and not being sustainable. This approach is likely to enrich our discussions with architects. Addressing accessibility and disability standards is a given for our design offices.

Training, Recruitment, and the Future of the Profession

Training is a key issue. What difficulties do you encounter in attracting and training new talent?

Training is one of our four fundamental missions, a pillar whose importance is evident every day. Our major challenge is to transform the perception of our profession to make it more attractive: beyond the technical aspects, the interior designer is a "shaper of unique spaces and experiences." In addition to attracting young people to our professions, it is essential to be able to recruit them with the qualifications suited to the ever-increasing complexity of our projects.

In your opinion, how will the interior designer profession evolve over the next ten years, particularly in light of increasing technical and environmental requirements?

The profession has undergone a significant transformation over the last thirty years, marked by a dual revolution: the evolution of design, moving from the drawing board to computer-aided design (CAD), and the evolution of production, with the adoption of computer numerical control (CNC) machines. However, the integration of new technologies must be done without ever sacrificing our expertise. Each designer and each workshop possesses specific skills that make them unique. It is imperative to avoid standardization, which would be detrimental to the richness of our craft. In short, our companies often possess artisanal know-how that they implement through industrial means and investments in costly and high-performance equipment.

What role can a trade association like the Chamber play in raising awareness of the profession among young people and training organizations?

Ensuring the sustainability of our profession is a collective responsibility, incumbent upon every interior design professional, not just the trade association. It is essential to actively promote our profession to young people, by engaging with them from middle school and high school onwards, by welcoming interns and apprentices, and by communicating within our local communities through company visits, for example. Interior design lies at the crossroads of manual and intellectual skills, offering an exciting and meaningful career path. We are determined to intensify our efforts to raise awareness of this field.

At the same time, we are working to develop training programs, particularly at the bachelor's degree level and beyond, in order to create increasingly attractive career prospects for the next generation. The goal of creating a master's degree related to our profession is clearly a priority for the coming years.

As a generation of highly skilled interior designers approaches retirement, how can we anticipate these changes and/or support business transfers?

If there were a magic bullet, it would be simpler, but it's a long-term commitment. Interior design is, above all, a profession driven by passion. And generational renewal and the transfer of expertise aren't unique to our field. While not always the case, professionals nearing retirement are often eager to pass on their knowledge, and we have young people ready to learn and contribute their ideas and skills, perfectly suited to new technologies.

The Role of the Design Office and Technical Expertise

The design office is often considered the invisible heart of an interior design project. How important is it in the value chain?

Without a design office, there is no interior design. The engineering work begins as soon as a project is received, with the creation of execution plans, the selection of materials, and consideration of the constraints of the furniture or custom-made structures to be built, as well as the site environment. These studies can represent a significant cost in a project, often exceeding 10%.

Beyond this cost, they guarantee our clients the relevance of the solution provided, a comprehensive understanding of the issues at stake, and adherence to deadlines.

How can we better value the engineering, planning, and coordination work that takes place before projects are completed?

It's a matter of education, both financially and in terms of time. When you go to a mechanic, the diagnostic is charged. It's essential that clients understand that providing a relevant solution from us requires significant resources. Furthermore, developing a well-thought-out design project takes time, including a preliminary information-gathering phase.

How is the role of the interior designer evolving in the relationship with interior architects, architects, and designers?

We generally aim to get involved earlier in the process, to position ourselves as their partners... However, we don't always succeed, especially when schedules are tight and the client's priority is price.

Materials, Reuse, and Environmental Transition

Reuse and circularity are playing an increasingly important role in market expectations. How can interior design companies structure a coherent and sustainable approach?

Reuse is a frequent and commendable requirement from our clients, but few of them currently accept the consequences. To maximize the reuse rate, projects should ideally be designed based on the available stock of materials. However, this approach is rare, and interior designers are often asked to integrate reuse solutions without having been involved in the initial design. The evolution of this situation will depend on the maturity of the supply chain for reuse solutions. Nevertheless, PRO A certified interior designers already offer solutions for certain elements, such as doors or non-visible structural components. It is important to note that using reclaimed materials can be more expensive than using new materials, as each product requires specific processing – not to mention the sourcing costs. Truly committed client companies are willing to accept this additional cost.

This requires significant education for clients. How can we convince them that circularity can go hand in hand with quality, safety, and aesthetics?

It certainly does. We currently use panels that partially or fully incorporate reclaimed materials. Their characteristics are generally comparable to those of panels made solely from sawmill waste. Regarding the other components, the main challenge is convincing project owners to accept slight variations from the initial design in order to maximize the integration of reclaimed materials. These materials may indeed have minor imperfections or exhibit uneven aging. This makes each project unique, with its own patina.

What logistical, financial, or regulatory obstacles prevent the smooth implementation of reuse?

The obstacles aren't specific to the design itself: clients must weigh the safety of new materials against the use of second-life materials. The problem lies in the fact that the cost of new materials rarely reflects their true environmental impact, particularly the embodied emissions associated with their manufacture. Conversely, reuse imposes logistical and verification constraints: dismantling, initial transport, condition checks, bulking, documentation, and finally, delivery to the processing workshop. For reuse to occur, it must be planned from the initial architectural design stage of the project; this is known as eco-design.

Which materials represent the most relevant levers for reducing the environmental footprint of projects today?

To significantly reduce the environmental footprint of our projects, it is essential to adopt a holistic approach by examining their entire life cycle. This is not solely a question of materials. It involves considering their manufacturing methods and the components used, their expected lifespan, maintenance, end-of-life, and recycling potential. A project designed to last by a design office, adapted to the client's needs, and carefully manufactured, necessarily has a lower impact than a mass-produced product.

How can we defend the value of our profession in the face of increasing budgetary pressures?

There is no single answer to this question. The first step involves educating clients and stakeholders. Few realize the complexity of our profession and everything that a design project entails. Most of our projects are custom-made and require specific studies. The second element lies in French manufacturing, which is essential to our collective. We all know that producing in France is more expensive than in Portugal, Turkey, Poland, or even Italy. Every client can choose to support the national economy or prioritize price. The third element concerns skills and expertise. In certain types of projects, clients will seek specific or rare expertise. This is why training is so important to us. It's up to us to promote our strengths.

Does the sector need to rethink its supply chains to become more resilient?

At PRO A, we have chosen to integrate both manufacturers and distributors. This approach aims to streamline our exchanges, and we are convinced that it will allow us to build effective and lasting relationships together, based on trust.

Emerging Technologies and Innovations

How do you see the arrival of artificial intelligence in the interior design and fitting industry? Can it become a support for the design, planning, or production phases?

Artificial intelligence represents a major opportunity for many construction and public works (BTP) professions. In the next five years, its role will not be to replace humans, but to strengthen them by taking over time-consuming, low-value-added tasks. It is important to emphasize that what we call generative AI is not a force for innovation; it simply reproduces existing systems by relying on a massive volume of data. As an example, we celebrated the centenary of Art Deco, which succeeded Art Nouveau. An AI could never have invented a complete architectural movement; at best, it would have been limited to optimizing what already existed.

Digital tools – BIM models, configurators, computer-aided manufacturing – are already transforming practices. How far can they go without fundamentally altering the profession?

This is a broad topic, which requires us to reiterate what our profession is: translating the architect's vision into a construction plan, then into the manufacturing and installation of custom-made structures. As long as architects and designers demonstrate creativity, our profession will remain true to itself. Furthermore, our ability to advise clients and provide solutions is not affected by new technologies.

How can we reconcile efficient production, standardization, and maintaining a high level of personalization?

It's about distinguishing the visible from the invisible. The design of a cabinet can be standardized. Creating a cabinet, whether white or decorative, is similar, requiring more care during handling. But we design structures that are more complex than simple cabinets. We offer an infinite choice of shapes to adapt to the constraints of the space to be fitted out and the architect's design. We are also able to offer a wide range of finishes: solid wood, natural veneer, laminate, lacquer, varnish, and textured wood. Furthermore, the interior designer integrates numerous materials in addition to wood: metal, glass, stone, marble, fabrics, leather, resin, LEDs, and more.

"The Chamber's work is managed within committees that must provide value-added services to members: committed business, professional training, purchasing, etc."

Ambitions for the Union and New Directions

What new services, support programs, or partnerships do you plan to develop within the Chamber to support member companies?

Its work is led by committees that provide members with value-added services: socially responsible business practices, professional training, procurement, etc. We build these services based on feedback from our members. For example, we chose to negotiate our energy contracts together. Thirty member sites in the collective have signed a joint energy contract that includes 50% green energy.

How can we strengthen the union's position with institutions, particularly in regulatory discussions and on standardization issues?

The Chamber is affiliated with the FFB (French Building Federation), so we are consulted on the Federation's positions. We will also work on our communication strategy to increase our visibility and become a key partner in all matters related to our profession.

How do you plan to develop the collective dimension among members? For example, through working groups, thematic meetings, trade shows, or industry-specific feedback sessions?

For the past two years, PRO A has created the role of ambassador. A staff member will visit all member companies annually. We will also deploy regional coordinators to energize the network, including in regions where we have a limited presence.

Projection

What do you think is the main challenge facing the interior design industry in the coming years: innovation, recruitment, the environment, added value, recognition of the profession…?

It is essential to enhance the value of our profession and gain recognition for the expertise of our design offices. This will allow us to better advocate for our proposals and position ourselves earlier in the project design process.

What legacy would you like the French Chamber of Interior Design to leave to the profession?

My grandfather founded his interior design company in 1936. My father continued this venture and developed the original company. My three brothers and I now head various interior design companies within the family group. More than just a legacy—since our group is still very active—it is a source of pride to practice a profession that I consider exceptional and fascinating. All the interior design company leaders I meet are aware of this. It is essential that every interior design professional becomes an ambassador for this profession.

If you had to give a message to the interior designers of tomorrow, what would it be?

I would tell them that our profession is magnificent. Joining this profession means becoming a creator of living spaces and emotional experiences. We are fortunate to possess expertise that will become increasingly valuable, so we shouldn't be afraid of challenges; they are inherent to our work.

Photo credits: Siam Agencement-Willy Berre, Gilles Trillard-L2A, Groupe ADM, Candice-Camera-Prod Agencement, Insight, Cyril Folliot, Laurent Schmidt-Grizard Agencement, Guillaume Ringuet-Saga Agencement, and Agencement Coutarel

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