Serenity Lookbook – White for a Pure and Refined Interior
White as a Manifesto of Contemporary Luxury
One need only step into an all-white room to grasp the immense power of this non-colour. Neither absence nor void, white is a breath. In the silence of its nuances, it soothes the eye, purifies volumes, and elevates materials. Far from being sterile, it becomes a language: one of essentials, of precise gestures, of refinement without excess. To create a white interior is to embrace a deeply contemporary vision of luxury and minimalism. It is to follow in the footsteps of artists, architects, and designers who understood that white is never neutral. On the contrary, it is the expression of restrained intensity.
From the 20th century onward, figures such as Le Corbusier, John Pawson, and Tadao Andō made white the core material of their sensory architecture—between light and silence. American artist Robert Ryman dedicated his entire oeuvre to this non-color, exploring its infinite interpretations. Among sculptors, the white form becomes a pursuit of purity: think of Constantin Brâncuși, his essential forms, his polished marble capturing light like no other material. In the world of interiors, visionaries like Andrée Putman and Axel Vervoordt elevated white to an absolute aesthetic. White is not simple—it is demanding, noble, philosophical. It tolerates neither approximation nor excess. And within that rigor lies its poetry.
White Rugs: Gentle Calligraphy on the Floor
In such a pure environment, our fur and hide rugs become artworks. Our creations—Eupraxia, In The Fields, Khan, Mageva, Allegro—are silent signatures that redraw the space, like a line on a blank page. Their whiteness is never flat; it shifts with texture, material, and light. Inspired equally by Agnès Martin’s minimalist canvases and the serenity of Japanese zen gardens, our rugs act as breathing spaces within the home.
Round, rectangular, or organically shaped, made from Toscana lamb or sheared fur, they narrate an intimate landscape.
Each piece, handcrafted in our ateliers by our skilled artisans, is one-of-a-kind. Their finishes, fiber relief, and material density evoke the raw surface of a Cy Twombly wall or the soft contours of a René Magritte cloud. Whether small or grand in scale, they anchor your white interiors without ever dulling their presence. On the contrary: they are their sensitive foundation.
our white rugs
White Cushions: The Emotion of Detail
White speaks loudest through detail. Our cushions—Mageva, Noémie, The Fairy—are the perfect embodiment. Circular in sheepskin, rectangular in mink, or square in fleece, they offer a palette of whites reminiscent of milk, cream, and freshly fallen snow. Sheepskin evokes the softness of alabaster sculpture; mink, the richness of a cloud-like silk textile.
Here echoes the silent revolution of Kazimir Malevich’s 1918 "White on White". These cushions integrate seamlessly into your interior, not merely decorating but resonating. They are full silences, hushed breaths. They are also keepers of rare comfort—a domestic luxury of invisible elegance.
our white cushions
White Armchairs: Between Sculpture and Utility
Our collection of white armchairs echoes the same desire to blend form and feeling. From the newly designed Allegro in soft sheepskin to the emblematic Alpina in long-haired fleece—our very first atelier creation—each model embodies a deliberate gesture. With Bao and its swivelling base, or the Atya armchair and pouf duo, we design pieces that are as functional as they are sculptural.
Like the carved chairs of Donald Judd or the enveloping shapes of Jean Royère, our armchairs assert themselves with quiet strength. White becomes material: leather, boucle sheepskin, long silky fleece. The lines are crisp, the finishes flawless. They represent the best of contemporary French craftsmanship—demanding and refined. In a pristine living room, they converse with the light like Richard Meier’s architectural volumes. In a monochrome bedroom, they offer a nest of understated comfort.
our white armchairs
White Throws: Invisible Warmth
A white throw, lastly, completes this atmosphere of absolute calm. Our In The Fields collection, with its pared-back design, and our Tsarine collection, in white fox fur, are two complementary expressions of aesthetic comfort. The former, with its simplicity, echoes the minimalist drapery of Christo’s installations; the latter, sumptuous and enveloping, recalls the snowy Russian winters depicted in the abstract landscapes of Nicolas de Staël.
A white throw is more than an accessory. It is a presence. It warms without weighing down, blends in without vanishing. Draped over a sofa, spread across a bed, wrapped around a reader or dreamer, it embodies the ultimate softness—the kind we hold, feel, and love.
nos plaids blancs
Whiteness as Total Artwork
To create an all-white interior is a bold gesture. It requires the precision of an architect, the sensitivity of a colourist, and an acute attention to every material and detail. Like a Lucio Fontana canvas pierced by a single white gash, sometimes less truly speaks volumes. At Norki, we believe in this economy of gesture, in the clarity that liberates.
In this purified space, every object finds its rightful place. There is no visual noise—only light, material, and sensation. It is an invitation to slow down, to listen, to contemplate. White, in this sense, is a philosophy—a way of living with grace.
Our creations—rugs, armchairs, cushions, and throws—are part of this vision. They are instruments of a discreet, demanding, and deeply contemporary art of living. And if we were to name one last master of this silent aesthetic, it would be Isamu Noguchi, who believed that an object should be “sculpture and tool, beauty and utility.” This is precisely our ambition.
Choosing white means choosing more than just a colour. It is choosing a vision, a serenity, an enduring elegance—a silent promise of beauty.
