Our metro stop is “Rome”, but outside it’s the real Paris: no sights of interest, just the everyday life. Office workers stubbing out the last cigarette of the day. Fast-food restaurants, whose achingly bright banners have crept into the grey-beige landscape. An empty espresso cup and some cents left as a token tip.

The most interesting fact about this area is its collection of streets, which carry the names of famous European cities: Turin, Saint-Petersburg, Bucharest. We head south on Moscow street, to meet Julia, who runs her framing workshop in house number 32. A master of her metier, Julia has been framing art of all forms for the past seventeen years, offering her clientele an exquisite choice and her refined taste.

The attention to the tiniest of details is evident from the storefront. On the little display, a careful selection of miniature frames and mirrors. Between them is a tasteful placement of dried flowers and a large, decorative metal key. The relatively small space contrasts with the few large items of vintage furniture: an archive cupboard and a large minister style desk destined for receiving customers.

Your parents are professional antique dealers. Did their work impact your childhood in any way?

They both did a professional reconversion, entering this field of activity as novices, driven by their passion for objects with a story. I remember our endless trips: we drove around frequently and far. Most of the time, it was me in the trunk and a new trophy item on our roof. This was the 80’s, and such road behaviour was still tolerated.

Except the trips - did the rest feel like a regular childhood?

Regular - no. My home had a special kind of atmosphere. I grew up surrounded by all sorts of incredible things, and I think that’s what helped me to train an eye for aesthetics and develop my own sense of style. I remember a funny episode when we visited a store of my dad’s friend. I must have been around seven or eight. And I immediately spotted “the” painting that would complement my dad’s collection. He bought it on my advice and today it hangs in my apartment. Of course the trips set a certain rhythm. I think there must have been times when I wanted to slow down, have it like everyone else. But the truth is that I never asked myself these questions. It was more of a realisation I would have when I would be in someone else’s company and it would hit me - my life isn’t like that of my classmate.

What was that painting that you spotted for your dad?

It was a portrait in profile of a young woman, with a high hair-do and bare shoulders. She had a Brigitte Bardot vibe about her.

Tell us how you got into the metier of framing?

It started with an acquaintance sharing her plans of applying to the parisian school of applied arts - La Bonne Graine (editor’s note: the school was founded in 1866 by professional artisans, who wanted to pass down their expertise on various techniques).

I was considering gilding, but that was before I discovered the richness of the framing metier. Imagine the number of options one can play with when working with all the different elements: matboards, filets, glazing options, and the frames themselves!

How were the courses structured?

After deciding on the metier, you had to find a professional, with whom you could complete your apprenticeship. We split our time between theory and practice: one week in school, three weeks of apprentice work.

Were your parents happy with your choice?

A university degree was never an end goal my parents envisioned for me. They always supported all my decisions, fueling my confidence, be it professional or personal choices.

Do you ever feel a pang of jealousy that your work is not the focal point of appreciation?

When we look at a piece of art, we focus on that, not the frame surrounding it.

We shouldn’t confuse the profession of an artisan with that of an artist. We don’t generate the idea - we follow the persona of the artist. But it’s undeniable that a framer plays an important role in the life of a piece of art. A well chosen frame can perfect the presentation and reveal a whole new dimension to what’s on display. We are the invisible hand, without which an artist’s masterpiece could not be finished.

What is a well chosen frame in your opinion?

It’s a frame, which adapts itself to the piece of art on display and matches its historical era. A frame should carry a secondary role. It’s beautiful when we forget about it.

Who are your clients?

Collectors, art dealers, gallery owners, decorators, but also individuals searching for something unique.

Name something you dislike about your job.

I don’t think I can! I enjoy it all - from the moment I first meet the client to when I find the perfect frame for a given project.

How do you see the evolution of your metier?

When I was starting out, artisans weren’t really looked up to - people were aiming for stable jobs within the financial sector, for example. I was never ashamed of my profession, even if at one point we were considered to be the poor, artsy bunch. The older generations have the same opinion: if you weren’t excellent at school, people immediately recommended for you to sign up for a technical college and skip a university degree. What we see now is a revival of artisanal crafts. People feel the need to move to something more simple and tangible. They crave the chance to do something with their own hands. That feeling is very gratifying - at the end of my working day I know what I have achieved.

What’s the style in your own home like?

Eclectic!

We can tell it’s the house of a framing master?

Yes (laughs), even though I try not to exaggerate with mural decoration. One can also tell it’s the home of someone who loves to hunt down vintage treasures.

Can we spot you at IKEA?

Yes, I go there for practical items like kitchenware and things for my son’s room. But there are furniture items, which I can no longer buy from IKEA. Things like tables and buffets. Their story is important for me.

What are your favourite places in Paris?

I have my favourite museums: Orsay, Gustave Moreau, Museum of the Romantics. I do have a thing for art of the 19th century even if I prefer the interior design styles of the 20th. I also love to visit art galleries. My favourites are Mathieu Neouze Art and Galerie Laura Pecheur.

If you didn’t get into framing, what could you imagine yourself as?

An actress in a theatre.

To visit Julia, please book an appointment in advance. Contact details can be found on her website.