Prior to starting Collectible, what did your journey in art and design look like?

We actually both come from the art world and have had a strong affinity for design since a young age. Clélie was the director of leading galleries and has experience with major fairs like TEFAF and FIAC as an exhibitor. Liv created her own art fairs in Brussels and was the director of the first Independent in Brussels. We initially started COLLECTIBLE to bring a type of design more akin to art than industrial design to art collectors. Since then, our journey has taken them much further!

A common pattern for creative duos are the lofty conversations that take place when first dreaming up your ideas. When you two first started conceptualizing Collectible, what did those conversations look like? Which aspirations came true and which ideas have changed completely?

We met in a rather amusing way. A mutual friend introduced us: Clélie, being Belgian, was in Paris, and Liv, who is French-Dutch, was in Belgium. We met for coffee to discuss our lives and aspirations. Clélie was already eyeing the collectible design scene, while Liv had no prior knowledge of it but knew how to organize fairs. A few minutes later, COLLECTIBLE was born. We both share the same work ethic, which is likely a key reason for our enduring partnership. Though we didn’t know each other before, we’ve grown closer than family. Interestingly, our aspirations have remained true to ourselves, though the scale has dramatically expanded, especially with this New York venture.

Now that Collectible is finally making its New York City debut, what aspects of NYC design and culture are you looking to tap into compared to the previous editions in Brussels? With that in mind, what/who are you looking forward to most for this edition?

We’ve always loved NYC and view it as a key global center for collectible design. Our first trip together before COLLECTIBLE was even created was to NYC. We appreciate the city’s energy and work ethic, which has enabled us to set up a show in less than four months. Our goal was to bring our community and European approach while integrating the NYC scene into COLLECTIBLE, helping to catalyze this amazing existing community. Being at WSA is an incredible opportunity; their warmth and support have made the journey so much more enjoyable.

Since it’s Fashion Week, we’ve focused heavily on this aspect. We’ve created a section with the help of Gabriella Karefa-Johnson and dedicated a full day for our CLUB COLLECTIBLE, which includes visits to special shops featuring collectible furniture, as well as masterclasses and exclusive tours. We’re also proud of our exceptional talks program, featuring notable speakers and moderated by great publications, which showcases strong local support. Our VIP program has been meticulously curated to stand out from other fairs. Additionally, we’ve partnered with other fairs, including Independent 20th and NADA at Governor’s Island, under the name Downtown Happenings.

Behind the scenes, what are the most fun and the most challenging aspects of running a design fair? What have been your greatest learnings?

It’s a rollercoaster all year long; it’s never boring. We both had a bit of craziness (or perhaps ignorance) to have embarked on such a journey. We’ve learned to be very creative in finding solutions while maintaining a positive and optimistic mindset. Clélie always says, ‘We don’t know how, but it will all be okay.’ And seven years later, it is—even in NYC! There have been some very tough moments, but we’ve learned that we have each other and that there is so much to be grateful for. Many designers have expressed their gratitude for our support, noting that things have changed significantly since we started, which helps us keep going. We also now enjoy much prettier interiors and have made plenty of very cool friends.

Looking ahead, where do you see Collectible and the world of collectible design in 5-10 years? What are your long-term aspirations for the fair?

It’s hard to say, as we see the world evolving and showing strong cycles. I feel collectible design has gained much more recognition compared to seven years ago when art collectors were unfamiliar with this type of design and often expressed their disinterest. Now, collectible design is a must-see, and many consider it one of their favorite fairs! We hope that designers receive better support to expand their market and continue experimenting and creating under improved conditions. This requires more galleries, more collectors, and increased awareness. We hope to keep contributing to this growth.