Pursuing a career in furniture design is more challenging than ever, as people now seek a perfect balance of form, functionality, and innovation in every piece. Some designers even have poetic influence just like the Belgian furniture designer Joachim Froment who believes design should carry a meaning beyond its function. His passion for creativity is evident in his furniture designs, including the 3D printed 0.6 chair or the Shanti chair which focuses on privacy.
Design has been in his blood since childhood, with a deep love for drawing and creativity. His passion for art, engineering, and human experience led him to study industrial design and eventually launch his studio. Always eager to push boundaries, he is now exploring the role of artificial intelligence in design.
On the pretext of Collectible Design Week 2025 (Brussels Edition), we had the opportunity to interview Joachim to discuss his journey into furniture design, his inspirations, and what drives his passion for creating innovative pieces. Read on to learn more about the insightful conversation.
Homecrux (HC): Tell us a little about yourself. What were your early inspirations? What led you to become a designer?
Joachim Froment (JF): I’ve always been fascinated by the intersection of art, engineering, and human experience. Growing up in Belgium, I was surrounded by both poetic craftsmanship and industrial efficiency—two seemingly opposite worlds that deeply influenced my approach to design. I was drawn to the idea that objects could carry meaning beyond their function, telling a story through materials, form, and interaction. My design journey was a natural evolution as I was drawing from a very young age and was passionate about inventing futuristic solutions, which led me to study industrial design and later establish my own studio.
HC: Can you share with us the story behind founding Futurewave Studio and how it aims to impact the design industry?
JF: Futurewave Studio was born from the belief that creating a product should follow a holistic approach by blending strategy, design, engineering, and technology to bring innovative solutions. The studio is a playground where technology, sustainability, and artistic expression meet. Our goal is to push the boundaries of what design can achieve—whether through furniture, objects, or tech products. We work on projects that explore new material and technology to design immersive product stories.
HC: How would you describe your design style? Do you prioritize aesthetics or is problem-solving your focus?
JF: My design philosophy is a balance between poetry and industry. I believe that aesthetics and functionality should coexist. Every object I create carries a sculptural essence while addressing real-world needs. My approach is highly context-driven, meaning the form and function evolve based on the environment, user, and material constraints. In essence, I strive for intuitive simplicity, where beauty emerges from clarity of purpose.
HC: How do you understand and incorporate the relationship between people, products, and their ecosystems in your design process?
JF: Every object exists within a larger system—whether it’s a home, a workspace, or a public space. I design with this holistic perspective in mind. Understanding how people interact with objects on a sensory and emotional level is crucial to my process. I also consider a product’s lifecycle, ensuring that it integrates harmoniously into its ecosystem, whether through modular adaptability, material longevity, or circular economy principles. The key is to foresee the relationship you want to create between people, products and their environment through a exercise of compassion and empathy.
Also Read: Ramón Esteve Speaks on Sustainability, Salone and Never-Ending Love for Sketching
HC: Poetry, industry, and sustainability are central to your design approach. Do you feel inspired by other Belgian poetic furniture designers like Fien Muller and Hannes Van Severen, or do you have your own independent approach?
JF: Belgium has a rich design culture, and I have great respect for designers like Muller Van Severen—their work beautifully blends artistic intuition with industrial precision. While I share the same poetic sensibility, my approach leans more towards minimalist engineering, where form follows both emotion and function. My influences extend beyond furniture into architecture, technology, and even philosophy, making my work more multidisciplinary.
HC: What is your process behind choosing materials for furniture design?
JF: Materials are the backbone of any design. I start by considering tactility, durability, and sustainability — how a material ages over time, how it interacts with light, and its environmental impact. I often work with natural materials like wood, stone, and metal, but I also explore recycled composites and bio-based alternatives. The selection process is a balance between technical constraints and emotional resonance—each material should tell a story. I carefully pick a material based on their properties, mechanical and functional but also tactile and emotional.
HC: How do you integrate sustainability in your creative process? Do you have any specific standards when taking on a project?
JF: Sustainability is not an afterthought—it’s embedded in every decision I make. I prioritize local production, responsible sourcing, and longevity in design. The relationship between a people, products and their environment is essential here. You need to tell a regenerative story that can work together in symbiosis on long term. I also explore circular economy principles, creating objects that can be disassembled, repaired, or repurposed.
When taking on a project, I ask:
- Can this product have a long lifecycle?
- Can it be made from low-impact materials?
- Can it be produced efficiently without excess waste? If the answer isn’t aligned with these principles, I rethink the approach.
HC: You work on multidisciplinary projects—do you have a favorite? How much do local art and culture influence your design perspective?
JF: I enjoy projects that blur the lines between disciplines, especially when technology and craftsmanship intersect. One of my favorite projects involved collaborating with engineers and artists to create an interactive installation that responded to human movement. Belgium’s design culture—rooted in surrealism, minimalism, and experimental craftsmanship—definitely influences my work. I take inspiration from both historical artisanship and forward-thinking innovation, creating a bridge between past and future.
HC: How and where do you find Belgium on the international design landscape?
JF: Belgium has a unique position in the global design world—it’s not as loud as Italy or the Nordics, but its design language is deeply refined and conceptual. Belgian designers are known for their subtle elegance, material sensitivity, and quiet innovation. The country’s small scale allows for close collaboration between designers, manufacturers, and artisans, making it a fertile ground for experimentation. Internationally, Belgian design is gaining recognition, and I see it becoming an even stronger voice in the future.
HC: Are you working with any international brands/designers? What challenges do you have to face?
JF: Yes, I collaborate with brands, architects, and galleries across different countries. One of the biggest challenges is aligning creative vision with commercial realities—finding the right balance between pushing the envelope and meeting production constraints. Another challenge is navigating cultural differences in design expectations. But these challenges are what make international collaborations so exciting—they push me to adapt and rethink my approach constantly.
HC: Tell us about the importance of Agape Design for you.
JF: Agape represents the intersection of elegance, functionality, and timeless design—qualities that resonate deeply with my own philosophy. Their approach to integrating architecture, water, and materiality is something I admire. The way they balance pure, sculptural forms with technical precision aligns closely with my own exploration of form and function.
HC: Minimalism is evident in your 0.6 chair. Do you apply a similar design philosophy to other pieces as well?
JF: Yes, the 0.6 Chair embodies my approach to radical simplicity—reducing a form to its most essential elements while maintaining a strong sculptural identity. This principle extends to all my designs, whether it’s furniture, lighting, or objects. I strive to create pieces that feel both effortless and intentional, with every detail serving a clear purpose.
HC: We personally admire your Shanti Lounge Chair—what was your inspiration behind it?
JF: The Shanti Lounge Chair was inspired by the idea of fluid relaxation—a piece that visually and physically embraces the body. I wanted to create something that feels both soft and architectural, blending comfort with a strong visual presence. The curved form was influenced by organic movement, while the materials emphasize both warmth and durability.
HC: What is the most memorable piece you have ever designed, and why?
JF: It’s hard to choose just one, but the 0.6 Chair remains special because it was a turning point in my exploration of minimalist engineering. It’s deceptively simple, yet every angle and proportion was meticulously refined. It also gained international attention, reinforcing my belief that less can be more impactful.
HC: What exciting projects are you currently working on, and what can we expect next from you?
JF: There are several exciting projects in the pipeline:
- A collaboration with a luxury brand on a products and installations with a high experience value.
- Exploration of AI-assisted design to push boundaries in digital craftsmanship.
- Expansion into innovative tech consumer goods that blur the line between object and technology.
The goal is to keep evolving while staying true to my core philosophy—creating objects that are poetic, intelligent, and sustainable.
We thank Joachim Froment for taking time out for this insightful conversation with us.
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