In 2000, he began working independently, honing his taste for furniture still further by linking personal research - such as his Light Cell project which was selected by the VIA - and designs to order for the luxury market (Givenchy, Issey Miyake, Paco Rabanne, Rado) or for manufacturers (Ligne Roset, éditions Spirit). Traditional materials (glass, metal, porcelain) and transparencies structured his work more and more, work which made good use of his mastery of industrial design to draw the material right up to its limit, thus extending the scope of its use. Fred Lambert never uses the embezzlement of technical procedures as a creative alibi, but exploits the technicity of a material whenever it brings a resolution to a knotty problem. The place of an object in a space and its capacity to enrich a location without overdressing it, are his guiding lights. In addition, his pieces are themselves transformatory, unfixed, with geometric purity, asymmetrical and ethereal.
In 2006, his love of spaces was confirmed when, after five years of collaboration, he founded the studio ær with graphic artist Michelle Gubser : his projects (the town hall in Bussigny, Switzerland, the touring exhibition 'La rue est à nous...tous!', etc.) combine signage and scenography, and confirm that transversality between image, volume and space which now draw together the work of Fred Lambert.