Sculpted silicone forms, quietly seductive — made for the window, the lens, and the long second look.
We make figures the way bartenders mix at midnight — slowly, to measure, and only for those who lean in close.
Three quiet questions. We point you at one of ours — or, if she doesn't exist yet, at the bench where she'd be sculpted.
Average time from mould to finished figure. Nothing is rushed.
Skin tones, each hand-mixed in platinum-cure silicone.
One atelier. One studio. Every figure passes through the same pair of hands.
Postures, finishes, and bases configured to the window it will stand in.
Every Pump Girls figure begins late, over a sketch and a low light. Sculpted in clay, moulded in platinum silicone, finished by hand across four quiet weeks. Not built to be noticed — built to be the reason you keep looking.
Three commissions. Names changed at the house's request — the figures are real, the windows still standing.
A spring window the maison wanted "loud only after the second look." We delivered three Mira figures in matte bone, articulated torsos, no faces. The store kept the lights low. Foot traffic held two seconds longer than the season prior.
They listened, measured, and disappeared. The figure arrived like it had always been there.
— Léa Marchand, Creative Director
Editorial hire for a cover sequence — two Luna figures, satin finish, complexion matched on the day to the talent. Lit hard, lit soft, dressed and undressed across the run. They came back the way they left. Nothing to retouch.
Silicone that reads as skin under store light. That is the whole trick — and they have it.
— Henry Oshiro, Creative Lead
A six-week show built around the silicone itself. We sculpted four figures to the gallery floorplan — two reclining Isolde, two seated Ottavia, all hand-painted. No plinths, no signage. Visitors circled them like furniture they weren't sure they could touch.
The quietest presence in the room, and the one everything else orbits.
— Carla Bessette, Curator