Taking as its starting point the furniture in my parents’ living room in Metz, "The Furniture Never Stays on the Floor" unfolds as a dissection of surfaces and an analysis of the volumes that occupy domestic space. My study of Donald Judd’s Specific Objects led me to question this environment and explore how it could be translated through the gestures of pattern cutting. Inspired by this formal rigidity, and having grown up in a city shaped by a harsh climate and Germanic influences, my attention naturally turned to the menswear tailoring seen on the streets of Metz in the 1960s. The collection brings these two perspectives together through a shared logic of construction, resulting in an enveloping and structured outerwear-focused menswear wardrobe. The silhouettes move beyond the static object, creating a wardrobe in which classic tailoring becomes inhabitable and furniture becomes the matrix for dressing.