Gaëlle Lauriot-Prévost

Architect, designer, and scenographer Gaëlle Lauriot-Prévost began her career at Zaha Hadid Architects before joining Dominique Perrault Architecture (DPA) in 1989. Since then, she has supported the architect’s design work as artistic director and designer, creating
interiors, furniture, and lighting.
Among her most iconic projects are the National Library of France in Paris (1995), the reconfiguration of the Dufour Pavilion, and the installation of Alain Ducasse’s restaurant within the Palace of Versailles (2016). More recently, Gaëlle Lauriot-Prévost took part in the renovation of the Longchamp Racecourse (2018), the extension of the Court of Justice of the European Communities (2008-2019), the renovation of the Louvre Post Office (2021), and the interior design of the Villejuif-Gustave Roussy station of the Grand Paris Express (2025). Through a partnership with the German company GKD, Gaëlle Lauriot-Prévost pioneered the use of metal mesh as a material in architecture and design. Today, it is not only one of the hallmarks of the DPA agency, but is also used by many architects around the world.

Gaëlle Lauriot-Prévost develops numerous scenography projects, including those for the Galeristes fair (2016-2020) and the Seoul Architecture and Urbanism Biennale (2021). Her design work is published by renowned companies such as Fontana Arte, Olivari, DCW, iGuzzini, Ozone, Liaigre, and others.

With her PLIS jewelry collection—and on the occasion of her first collaboration with MiniMasterpiece – Gaëlle Lauriot-Prévost pursues a long-standing obsession: transforming industrial objects into aesthetic, sensitive, domestic, and wearable designs. At the heart of this project is a material that has become emblematic of her universe: pleated metal mesh. Designed for technical uses—filters or industrial assemblies—she invents other applications and forms for it: a candleholder, a lamp, a tube, a lantern. And now, jewelry.

To those who can hear it, jewelry speaks a language.
It sends a signal: “I am happy,” or “I want to be seen.”
It is a silent message, an address to others, a social fetish.
GLP, May 2025

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