Inside pieces


Part of pieces in space


In 2022, Maison Intègre took a part in the first exhibition of the Invisible Collection at Feau Boiserie.
Both a studio and a gallery, this house of excellence perpetuates the tradition of French decor by designing, manufacturing and installing woodwork decorations since 1875, when Charles Fournier opened his studio, quickly becoming one of the most famous decorators of the Belle Époque.

A labyrinthine space in which the emblematic pieces of Maison Integre takes part.


Les Ateliers Courbet is a design gallery based in New York. Founded in 2013 by Mélanie Courbet, the gallery presents exceptional pieces combining craftsmanship and cultural heritage through collaborations with artists, designers and artisans.

Since 2022, Maison Integre has presented the collection designed by Noé Duchaufour-Lawrance.

Find the pieces in unique finishes always made to measure.

Raphaël and Noëlie Sawadogo


designers and weavers

“I learned to dye and I liked it, I love creating!”

Raphaël Sawadogo has already lived more than ten lives. In wood craftship, in certification, abroad, he worked in many different jobs, sometimes very well paid, until becoming an employee of a weaving workshop. “I was the boss’s right-hand man, a long-time friend, I helped him in particular with administrative management.” Then his friend tells him of an imminent departure to the United States and the closure of the workshop. “I was in danger!”. It was four years ago. He decides to learn dyeing, and it’s a revelation. “I really like it, and it provides a living for my family.”

At his side, Noëlie, his wife, creates and weaves the prototypes. The couple is settled in the courtyard of their house in Cissin, Ouagadougou. A 10-meter loom is there, carrying the threads of the creation in progress.

“We weave Faso dan Fani, from local cotton, organic one as often as possible.”

Faso dan Fani, which has returned to fashion thanks to the national preference given to local creations, has not generated any increase in activity among them. “But we have added value: we weave 40 thread, while the others weave 20.” A much finer and more elegant thread than the traditional dan Fani, which may be a little heavy to carry sometimes.

Raphaël and Noëlie also rely on sobriety to differentiate themselves: “no golden threads here, nor garish patterns”. In fact, their loincloths are either “dirty white”, that is to say ecru, or pastel colors. Because Raphaël favors the natural dyeing of his yarn, based on leaves, roots, bark or stones. And even when he has to use chemical dyes for financial reasons, he sticks to a range of colors close to those obtained by natural dyes. Once the yarn has been cleaned by boiling, the pattern created by Noëlie and the prototype woven, four women will weave the loincloths which will be sent to customers.

Raphaël works with individuals but also couturiers, and not the least. François 1er, a renowned Burkinabè designer, was seduced by the finesse of his Dan Fani and the delicacy of his patterns. “And we are among the only ones to weave 45 cm wide, where the others tend to weave 30 cm wide.” The Sawadogo couple’s demands for final quality and the difficulty of weaving such a fine thread mean that some women refuse to weave, because “you have to be calm, listen to advice and accept criticism” emphasizes Raphaël.

In March 2016, the revival of Dan Fani and the presidential decision to produce a national loincloth in this cotton caused a thread break. “There were none left, anywhere”, remembers Raphaël, who had to part with 6 of his weavers. Today, they have settled back into other activities and do not wish to return. Raphaël is therefore faced with the problem of every growing craftsman. Not enough hands to increase the quantity, and therefore not enough income to hire 6 new employees and invest in the equipment that goes with them. But the tenacity and professionalism of the couple suggests that this state will not last forever, thanks to their numerous recommendations.

Moreover, the objectives are clear: “I have acquired a small piece of land, I want to build a workshop there to bring together all the stages from dyeing to the exhibition and sale of finished products.” And thus make the courtyard of their little house playable for their three children and the dog Tex.

“Faso Dan Fani weaving requires seriousness and precision to obtain a quality product that will stand out.”

Faso Dan Fani

Faso Dan Fani

Woven loincloth of the homeland.

If he is a symbol of Burkinabè patriotism, Faso dan Fani is the one. In a country where the cultivation of cotton, not genetically modified, is one of the main national incomes and where the tradition of weaving is very old, these heavy cotton loincloths have very quickly become essential both for making clothes and for furnishing and decorative fabrics.

“In all the villages of Burkina Faso, we know how to grow cotton. In all the villages, women know how to spin cotton, men know how to weave this thread into loincloths and other men know how to sew these loincloths into clothes. We must not be a slave to what others produce”.

Thomas Sankara

It was when Captain Thomas Sankara came to power in the mid-1980s that Faso Dan Fani became a national symbol and the promoter of local know-how. Determined to promote the emancipation of women through work and the development of national productions, Thomas Sankara imposes by decree the wearing of outfits made in Faso Dan Fani to his officials. “Wearing the faso dan fani is an economic, cultural and political act of defiance of imperialism”, used to say Thomas Sankara, whose political inspiration was essentially based on communism and anti-colonialism.
If the daily use of this loincloth fell slightly into disuse following the death of Sankara and the establishment of a much more liberal policy, the Faso Dan Fani has always remained the basis of the production of festive and ceremonial clothing, the Naba – village chiefs – wearing it at every opportunity. The first of them, the Mogho Naba, the emperor of the Mossis, takes care to always wear a Faso Dan Fani when he appears in public or receives in audience in his palace in Ouagadougou.

The Mogho Naaba, kings of the Mossis, one of the ethnic groups in Burkina Faso, dressed as Faso Dan Fani ©Afrika tiss

The revolution that took place in 2014, which ousted the dictator in place since the death of Sankara, raised an incredible wind of patriotism among Burkinabè. Roch Marc Christian Kaboré, President democratically elected at the end of 2015, brought the port of Faso Dan Fani up to date, himself wearing it at each of his appearances, including on official trips abroad. If the use of Dan Fani has not been made compulsory this time, it is however very favored. Each political demonstration sees the statesmen dressed in the traditional outfit woven in this heavy cotton, and the so-called “March 8” loincloth, published each year in honor of World Women’s Day for Equal Rights, and traditionally offered by all employers to their employees, is now from Faso Dan Fani.

Robust and natural, the Faso Dan Fani has become the symbol of a Nation proud of its roots and its know-how.

“Today Faso Dan Fani is highly valued around the world. It is the most expensive and best African fabric nowadays. »

Pathé Ouedraogo, known as Pathé'O, Ivorian designer

Collection T.Reicheville, 2016, Pathé'o



Early 2023 Maison Intègre presented for the first time in Paris a retrospective of its work at the Noé Duchaufour Lawrance’s gallery.
A look back at this exhibition which highlights its permanent collection but also the new Maison Intègre Studio products.

Photography by ©LucasFranck

Horsemen from Burkina

Horsemen from Burkina

If you come to Burkina, it is not unusual to meet a horseman pacing the streets. The emblematic horse of Burkina has a very close relationship with this country.


This bond raised from the legendary epic of Princess Yennenga and Malinké prince in exile. Yennenga means “the thin, the slender”, she is the founder of the Moogo kingdom bringing together the Mossi Fulani actual Burkina Faso. She is the daughter of King Nedega, an authoritarian and just king who reigned over the Dagomb peoples. The princess was passionate about horses, but despaired of not being able to ride as men did.

Rebel and reckless, she convinces her father to give her permission to ride alongside him and becomes a fierce warrior. Following a conflict with her father, who threw her in prison, however the princess managed to escape and fled on her favorite mount, a white stallion.On her run, she met Prince Malinké, with whom she fell madly in love. From their union was born Prince Ouedraogo which means “stallion” or “male horse”. Today this surname is one of the most widespread in Burkina Faso, and the white stallion on which the princess fled is today the national emblem of the country.

Today, only a few wealthy families own horses in town, young riders move through the streets and mingle with the frenetic traffic of the capital. Giving an appointment in front of a bar or a nightclub, they meet at ceremonies or shows. They allow everyone to remember the equestrian cult of nobility and beauty. It is also common to come across horses roaming freely, they sometimes stop in front of houses simply to graze, they are the kings of the city.

Philippe Bordas is a photographer who took a serie of pictures highlighting the Mossis riders.“I accompanied [the artist] Tiken Jah Fakoly, of which I was the photographer for a concert in Ouagadougou. Horsemen came to the airport and escorted us through town. They were very impressive, and that caught my curiosity. »

This collection of photographs allows us to immerse ourselves in the close relationship that the Ouagalais maintain with the majestic animal which is the horse.

© Philippe Bordas

The Collection by Noé Duchaufour-Lawrance


Designed by Noe Duchaufour-Lawrance

Maison Intègre is set to launch a new collection in collaboration with the multifaceted French designer Noé Duchaufour-Lawrance, whose inventive approach to the quintessential shapes found in Tiebélé, a traditional Kassena village located in the south of Burkina Faso, as well as other elements ever-present in the Burkinabe culture, has allowed him to create seven sculptural pieces that counterpart each other.

Discover the pieces

Ambre Jarno & Noé Duchaufour-Lawrence

Palabre Chair

After Ambre Jarno, the founder and Noé Duchaufour-Lawrance first met in Paris in 2018, they discovered that their respective projects, Maison Intègre and Made in Situ, had a lot in common. Ambre invited then Noé to think about a possible collaboration.

Fifteen years earlier, Noé had visited the Bandiagara cliffs in Mali, another region of West Africa that is very hard to reach nowadays for security reasons. There, he had discovered ladders made of one single piece of wood, a common object in West Africa, particularly in the Dogon and Lobi cultures. The iconic Y shape was the first inspiration that came to Noe’s mind, with the idea of designing a sculptural lamp. “The idea of using only one material really spoke to me. I was impressed by the purity of the Y shape. It’s a special shape mostly because of its fragility: there’s only one leg, but the two arms facing upward and leaning against a surface make it extremely stable”, Noé says.

She invited him to take an immersive trip inside Burkina Faso, knowing that Noé would be sensitive to the beauty of local crafts, their associated know-how and their strong materiality. She invited him to take a long-winded journey in Burkina Faso. She also showed him images of the quintessential shapes found in Tiebélé, a traditional Kassena village located in the south of Burkina Faso, another red zone impossible to visit nowadays but which Ambre had had the chance to discover a few years earlier. These images, as well as other elements ever-present in the Burkinabe culture, such as the PALABRE chair, constituted the inputs that Noé received.

Kassena Low Table

A lobi ladder


Noé Duchaufour-Lawrance

Noé Duchaufour-Lawrance is a designer working across a vast array of crafts and materials to create different pieces depicting his own nature-driven narrative. His approach to design is grounded on his innate ability to combine simplicity and an honest desire to create pieces that last. From architecture to furniture, from interiors to bespoke collections, Noé has a unique sense of respect for the past even when his eyes are on the future.

Noé Duchaufour-Lawrence

Retro Lamp

Making Of : Echo Lamp


The creation of a piece requires the participation of several bronze working trades. Up to fifteen artisans work together in the Maison Intègre workshop. Three master bronzers are at the controls and around them, several small teams work on the manufacturing stages: creation of the molds, extraction of the wax, casting of the molten bronze, cleaning, welding and finishing.
All our pieces are made by hand, using the ancestral technique of lost wax from recycled metals.

Discover the piece

Echo Lamp

In late 2018, Wallpaper magazine invited us to collaborate with Brendan Ravenhill to create a piece for the Wallpaper Handmade exhibit, « Love. » Together we created a lamp that would embody the theme of love. The resulting design is a lamp in two parts that engage in a relationship with each other. One part is a light source that cradles a bulb in a brass shell, the other is a stand alone reflector that captures and bounces the light back in a soft reflected glow.



A model of the piece is made out of beeswax. In Burkina Faso, it can be very difficult to handle the wax due to the heat. The country is close to the Sahel region and the temperature can reach 48°C.

In the case of a series of the same object, a plaster mold is built up on the wax model to easily replicate the model. In the case of unique pieces, plaster is not needed. Drains and air-vents are added to enable the melted wax to flow. These same channels will be used to cast the molten metal.

Beeswax models

Clay Molds



The wax model is wrapped up in many layers of a mix of clay and horse dung. The whole is secured with metal wires and then baked for a few hours depending of the piece’s proportions.

Mold in the fire

Dried molds



Once the clay has hardened and the wax melted, the melted wax is evacuated and put aside for reuse.
The wax area is now empty and ready for bronze to be poured in.

Mold after baking

Evacuation of the wax



Bronze is made from recycled metals such as taps, screws and bolts. They are heated to about 1200°C in a melting pot dug into the ground. When the fusion occurs, the bronze is poured in the clay mold. The metal is left to cool and harden in the clay moulds for about an hour and a half.

Drains and air-vents

Casting bronze into the mold



When cooled, the mold is extracted and the clay is broken away from the bronze. The wires are removed and the surface is cleaned-up. If needed, some repairs are done. The lamp’s surface is then finished for the team in France to add the special finishes.

Raw pieces just after demoulding



The final finishing stage and the patinas are provided by our affiliated workshop in the south of France.



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