We used to live right in the heart of Ixelles, a neighbourhood I love and that is always buzzing with life. After Covid, we moved to this more residential area to have a garden and more space. The house is quite bright, almost like a country home in spirit, yet very lively. Its identity is defined by colour—strong, expressive tones—which I love, as they bring so much joy, and by the furniture. We mix styles quite freely: contemporary design, second-hand pieces, and objects brought back from our travels. Nothing is fixed; everything evolves. I like to build the spaces gradually, shaped by encounters and discoveries along the way.

We recently acquired a piece by Gustaf Westman, a kind of metal sculpture shaped like a spring. It’s a very visually striking piece, but also quite playful. I like objects like that—pieces that structure a space without being ostentatious. We also have a green mirror by the same artist in the entrance hall. These are works that immediately give a home personality, without being showy. And then there are the vintage finds, especially in the living room, such as coffee tables or seating discovered on Rue Haute or Rue Blaes in Brussels. I love those neighbourhoods where we regularly go for family walks.

Absolutely not! I rarely work from home. I’m always on the move, settling into cafés—often different ones. I really like The Mix, an hotel that also includes a coworking space, as well as a gym and event venues. Our next Roller Coaster festival will actually take place there on October 8. On the ground floor, there’s one of Brussels’ best food courts, Fox, where you can enjoy Korean, Mexican, Japanese or Italian cuisine… My husband and I go out a lot; we love meeting friends for dinner. The house is a place to come back to, a family space, but not a workspace or a place for big dinners. And I won’t lie—I’m not much of a cook!

Brussels is more of a cocoon. I love very specific places, especially its façades—the ones around Place Brugmann, Avenue Molière, or the Ixelles ponds. There’s a real architectural richness. I enjoy observing them and photographing them. For the past few years, both here and when I travel, I’ve been doing quite a lot of film photography. I’ve just come back from Los Angeles, where we visited architect-designed homes, including the Eames House—it was magnificent. As well as the newly opened LACMA museum and the David Geffen Galleries. I took a lot of photos!

Absolutely. Recently, Japan was a very memorable trip, as was Costa Rica. We also often go to Greece, to Sifnos. There are a lot of photo albums at home. The girls often look through them; they love reliving those moments. We often choose our destinations based on hotels, as a kind of guiding thread.

Among our favorites: 850 SVB in Los Angeles, Mint in Santa Teresa, Hôtel des Dunes in Cap Ferret, Maana in Kyoto, Benesse House in Naoshima, Buena Vista in Lanzarote, and Torre Vella in Menorca. And when I come to Paris—which I do at least once a month—I stay at Hôtel Massé.

From my parents! That culture of travel and places—boutique hotels, small distinctive addresses, carefully curated atmospheres—it all comes from them. It has deeply shaped the way I see things.

Yes, 100%. My parents were entrepreneurs in fashion and had their own handbag brand. I grew up in that world, where creating felt like an obvious path. My mother was a stylist and always had a very strong, eclectic sense of taste, and above all a real freedom in the way she expressed herself and dressed. Today, I’m quite feminine—even in jeans, I wear heels. I’ve toned down on patterns, but I still wear colour; there isn’t a single white T-shirt in my wardrobe!

As with furniture, I like strong pieces that I keep for a very long time. For example, I still have items from Roseanna from ten years ago that I love wearing. I also enjoy discovering more niche labels, such as Magda Butrym, Belgian designer Meryl Rogge, the French brand Wear Marcia, and Réjina Pyo.

Yes. I started at L’Oréal in marketing, but I very quickly felt the urge to create. I launched my handbag brand in 2011, when I was 25. It grew a lot in Belgium and taught me a great deal. It had a very strong identity, notably a signature golden chainmail band—my first name comes from a Greek muse and my last name means “goldsmith”—a distinctive detail without any visible logo. In fashion, as in design, I’ve always preferred subtle codes over overt signs. At 30, I sold my brand and began working alongside other structures, including the footwear brand Carel. At the same time, I launched the agency and festival Roller Coaster, which are now at the heart of my activity.

Roller Coaster was born alongside Émilie Duchesne—who was a jewellery designer—from a very simple desire: to bring people together and help break down a fear that is very present among women: the fear of being disruptive, of asking, of not daring. Our very simple, but deeply liberating mindset is: “at worst, it’s a no, at worst there’s no response. But at least you’ll have tried.” Émilie and I both became entrepreneurs quite young, in fashion, in Belgium, and very quickly found ourselves moving in the same circles. At first, we started organising gatherings quite instinctively: dinners, exchanges between women, without any real structure. Gradually, we realised there was something stronger there: a shared energy, and above all a desire to build bridges between women. Something was missing to bring female entrepreneurs together and inspire them in a more organic way. That’s what we created, hosting, among others, Louane, Margaux de Fouchier, and Mademoiselle Agnès.

Yes, completely. I have a very naturally unifying side, almost without realising it. I like being surrounded, by my family or my friends. My husband and I have a very close-knit circle; we tend to function a lot as a group. We really enjoy this very collective way of living. My daughters often come with me to our events. I talk to them a lot about what I do, about our projects, and I encourage them to dare to be themselves and to speak up. Everything can be learned—even speaking in front of 800 women, which was quite a challenge for me at first. And above all, it’s okay to make mistakes; everything doesn’t need to be perfect!

We gather a lot in the blue living room to watch films. I show the girls films from my childhood, like Grease or Le Dîner de Cons. It’s a simple moment, but very grounding for us. Yes, I’ve always been passionate about cinema. As a child, I even wanted to work in that world. I love storytelling, atmospheres, and visual universes. I think it still influences the way I think about projects and experiences today.

Yes, the library is very important in our home. There are a lot of books, and it’s a very living space. My partner reads a great deal, and so do I, and he has created a kind of ritual: as he knows what I’ll like, he now buys me my books and surprises me with them. You’ll also find travel photo albums in that piece of furniture; it’s a very simple object, but one that tells a lot about our family life.