Conceived and founded by Lili Chuard in 2019, EDRA offers a distinctive vision of vintage and antique furniture and objects, at the intersection of design, decorative arts and craftsmanship. More than simply a selection of pieces, EDRA advocates a particular perspective: that of an interior built over time, free from trends and enriched by the expertise of those who shaped it.

Sourced throughout Europe from dealers, markets and fairs, furniture, objects and textiles are selected for the quality of their design, craftsmanship and materials. Some pieces bear the signatures of renowned designers, while others carry the more discreet mark of artisans whose work reflects traditions and techniques that are sometimes centuries old.

Beyond its collection, EDRA works with private clients, architects and interior designers on their interior projects. Starting with a space, its architecture and the sensibility of those who inhabit it, Lili Chuard specifically sources and selects pieces that can find their rightful place within it. Her eye, shaped by years of sourcing and an in-depth knowledge of furniture and the decorative arts, allows her to identify singular pieces, sometimes beyond the most obvious channels, and to bring them into dialogue with both contemporary architecture and historic interiors.

This research extends to restoration and upholstery work, tailored to the needs of each project. Rather than returning objects to a fixed or pristine state, EDRA seeks to preserve what gives each piece its character while allowing it to adapt naturally to new uses and new settings.

Shaped by Lili Chuard’s background and her immersion in the worlds of interior architecture, fine art and design, EDRA is today a hybrid space somewhere between showroom, workshop and gallery. It is a place for expression and collaboration, where heritage, craftsmanship and a contemporary eye come together — and where each piece is considered not only for what it is, but also for the place it can occupy within an interior.

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Lili was born and raised in Switzerland, in a family where art, objects and creativity played a central role. Her father, an engineer and artist, and her mother, a gemologist and jewellery designer, were both passionate about furniture. As avid travellers, they instilled in her from an early age a curiosity for architecture, art and craftsmanship.

Her appreciation for textiles developed through her grandmother in St. Gallen, at the heart of Switzerland’s textile tradition. More drawn to her father’s workshop than to the classroom, she naturally pursued studies in interior architecture at HEAD – Geneva School of Art and Design, before working for several local interior architecture practices.

After an extended period abroad, she joined art dealer Daniel Varenne, where she organised exhibitions and was notably involved in managing loans of artworks to museums. There, she worked alongside artists, gallerists and curators and travelled to international art fairs, refining both her eye and her knowledge of the art market.

After several years in Athens and then London, she trained in upholstery under Bob Barnett at AMUSF – the Association of Master Upholsterers & Soft Furnishers.

Now based in Geneva with her husband and their three children, Lili continues through EDRA to explore the worlds of furniture, art, materials and craftsmanship. Her curiosity is now leading her towards metalwork, around a future project that she is keeping under wraps for the time being.

Which period of the 20th century is currently making a strong comeback in interiors?

Art Deco is very much present. The great names of French design from the 1940s to the 1960s, such as Jean Royère, Jean Prouvé, Charlotte Perriand, Serge Mouille, J.-A. Motte and Pierre Guariche, among others, are now considered blue-chip names.

Personally, I tend to guide my clients and collectors towards an earlier, more pared-back decorative style from the 1930s and 1940s, as well as pieces with more Neoclassical lines dating from the 1935–1950 period.

This is architectural furniture with simple forms, where exceptional materials such as lacquer, bronze, mica, copper, alabaster and Macassar ebony are not merely a surface or support, but an expression of the craftsmanship and mastery of the artisans of the period.

Without necessarily investing in highly sought-after and expensive pieces by designers such as Jean-Michel Frank, Pierre Chareau, Jacques Adnet, Gilbert Poillerat or René Prou, clients can find equally compelling pieces of quality at more accessible prices.

Which vintage style is still under the radar but could see its value rise significantly over the next three years?

The Brutalism of small European artisanal workshops and their solid-wood furniture production from the 1960s to the 1980s, as well as radical Japanese design from the 1980s and 1990s, with designers such as Kuramata, T. Kita, Kurokawa and Takahama.

What is the most beautiful piece you have ever sold?

A 1940s bar cabinet by Jacques Adnet, whose value naturally remains confidential.

Which piece has stayed with you the longest, and why do you wish you had not bought it?

As the saying goes, “Scared Money Never Wins”!

Some pieces sell almost as soon as they are acquired, while others remain in hibernation for longer. But experience genuinely shows that every piece has its collector. The only downside can be the cost of storage.