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VIVE LA FRANCE ! THIRTY YEARS AGO, THE FIRST ISSUE OF ELLE DECORATION APPEARED ON FRENCH NEWSSTANDS, LAUNCHING A FAMILY OF MAGAZINES THAT HAS GROWN TO INCLUDE 25 EDITIONS CHAMPIONING INSPIRING DESIGN AROUND THE GLOBE. IN THIS SPECIAL ISSUE OF ELLE DECOR, WE PAY TRIBUTE TO THE COUNTRY THAT GAVE BIRTH TO OUR MAGAZINE WITH A CELEBRATION OF FRENCH STYLE, CRAFTSMANSHIP, AND HERITAGE 20 ELLE DECOR

JEAN-FRANÃ&#x2021;OIS JAUSSAUD

A pair of urns and artwork by designer Christian Astuguevieille in one of two apartments he owns in Bayonne, France, page 164.

New York

Paris

London

Brunschwig & Fils ÂŠ 2017 brunschwig.com

CONTENTS SEPTEMBER 2017

142

ABOVE:

The garden of François and Betty Catroux’s private retreat in Provence. ON THE COVER:

The living room of a Paris apartment designed by Jean-Louis Deniot. Photography by Simon Upton. Produced by Cynthia Frank. 22 ELLE DECOR

PASCAL CHEVALLIER

VOLUME 28 / NUMBER 7

Â®ROBERTOCOIN

POIS MOI COLLECTION | robertocoin.com

contents The living room of Pamela Mullin’s apartment on Paris’s Île Saint-Louis.

176

Features A Place in the Sun Parisian designer François Catroux—as famously private as he is celebrated for his luxe interiors and glamorous clientele—offers a rare look into the luminous stone retreat in Provence that he shares with his notably chic wife, Betty. By Dana Thomas

24 ELLE DECOR

150

Redefining a Classic For designer Jean-Louis Deniot, an apartment in an up-and-coming Paris neighborhood provides the perfect canvas for an insouciant and inviting lair. By Kate Betts

158

Paradise Regained Designer John-Mark Horton revives a storied house and garden on the French Riviera where he played as a child. By Peter Terzian

164

Double Feature In France’s Basque Country, Renaissance man and inveterate collector Christian Astuguevieille discovers that when it comes to housing his latest acquisitions, two artfully arranged apartments are better than one. By Ian Phillips

170

A Family Affair Designer Garance Aufaure lovingly updates her family’s house in the north of France without disturbing layers of decor inherited from her mother and grandmother. By Vicky Lowry

176

Flights of Fancy An adventurous Californian fulfills her lifelong fantasy of owning a chic pied-à-terre on the Seine. By Celia Barbour

JAMES MERRELL

142

contents

Pages from David Hicks Scrapbooks.

Departments 20

Welcome to the Issue

Scene + Heard The people & places behind the stories

Style Sheet Fashion-forward design

What’s Hot Dispatches from the world of design

119 Tassels by Declercq.

What’s Next Art in an age of irrationality, a luxury hotel in Baltimore, Egyptian animal mummies in Brooklyn, a welcoming new wine-tasting room in Napa, the glamorous life and times of David Hicks, and more

Interior designer Christian Liaigre on the enduring virtues of minimalism. By Peter Terzian

A bedroom in Garance Aufaure’s home in Compiègne, France.

Unconventional Wisdom

Looking Forward

Great Ideas Mirrorlike lacquered walls heighten the drama throughout the home

170

In the Showrooms What’s new to the trade

Shortlist The 12 things furniture design maestro Philippe Starck can’t live without

Trend Alert Designers are giving a blush of subtle pink to fashion and furnishings

Talent In the hands of Parisbased artist Jacques Jarrige, everything from furniture to jewelry takes on the expressive vitality of sculpture. By Vicky Lowry

Talent Louis Benech, France’s master garden designer, composes beautiful and exciting landscapes while remaining true to the lay of the land. By Patrick Rogers

Inspiration For four American interior designers, living like a local in Paris is more than a dream. By Paul O’Donnell

26 ELLE DECOR

The Fashionable Life Our October issue explores the homes of stylesetters and tastemakers: the colorful Manhattan apartment of TV host Andy Cohen, above; artist Valerie von Sobel’s whimsical Los Angeles home; the charming Paris flat of fashion editor Ariel de Ravenel; industry insider Christina Juarez’s vivacious apartment in Manhattan; and the glamorous New York apartment of furniture designer Marin Hopper.

CLOCKWISE FROM TOP LEFT: PAMELA COOK/STUDIO D; VENDOME PRESS; DOUGLAS FRIEDMAN; JOHN M. HALL

Set yo ur san ctuary. feat. T H E O D Y S S E Y C O L L E C T I O N

Rugs for the thoughtfully layered home.

contents 95

Toolbox

A quiet corner of John-Mark Horton’s garden in Roquebrune, France.

Smart products for stylish homes

Truth in Decorating Designers Mary McDonald and Robert Stilin raise a toast to bar cabinets—an entertaining essential welcome at any party. By Catherine Hong

104

ELLE DECOR Goes

to Bordeaux France’s once-sleepy southwestern city has remade itself into a design destination second only to Paris. By Ingrid Abramovitch

112

Daniel’s Dish What do France’s most admired chefs cook when they’re off duty? A trio of food stars from around the country shares inspired takes on classic home cuisine. By Daniel Boulud

119

Made in France Its centuries-old reputation as the world’s purveyor of finely crafted furniture, sumptuous fabrics, and exquisite decorative arts is no thing of the past: In France, the art of the handmade is flourishing. By Tim McKeough

184

Resources Where to find it

188

Endpaper 158

Enter our Fermob Giveaway

Transform your garden, patio, or terrace with fine furnishings from Fermob, the preeminent French manufacturer of outdoor chairs, tables, and sofas—in designs classic and contemporary—that marry style and comfort with the latest in weather-resistant practicality. One lucky reader will win a Bellevie Low Sofa—modern-chic seating featuring a rounded rectangular frame in powder-coated aluminum with an anti-UV finish

28 ELLE DECOR

and generously sized cushions upholstered in water-repellent and stain-resistant fabrics exclusive to Fermob. The Bellevie Low, designed in 1980 by Patrick Pagnon and Claude Pelhaître, is available with a frame in one of 24 contemporary colors, including Verbena, Fuchsia, Poppy, and Aubergine—a $2,900+ value. See page 186 for sweepstakes rules, and visit fermob.elledecor.com for your chance to win.

Visit service.elledecor.com to order a print subscription, pay your bill, renew your subscription, update your mailing and e-mail addresses, and more. Or write to: Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. One-year subscription rate $15 for U.S. and possessions, $41 for Canada, and $60 for other international. To order a back issue dated within the past two years, please go to backissues.elledecor.com.

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1764 – 1816 |

Baccarat is established as a glassworks factory upon authorization by King Louis XV and subsequently converts the installation into a crystal manufactory.

1823 |

King Louis XVIII gives Baccarat its first royal commission, firmly establishing glassware as a key element in 19th century tableware. In 1936, President Franklin Delano Roosevelt orders the François Villon service created in 1887, bearing the initials “FDR,” enameled with two crossed flags.

1841

| In 1840, King LouisPhilippe commissioned a formal ceremonial chalice, a glass with 6 facets adorned with a red crystal button. The following year, the celebrated Harcourt collection is realized.

1948

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1993 | Baccarat introduces its

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1997 | All Baccarat chandeliers

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Hearst Design Group Editorial Director NEWELL TURNER

Executive Managing Editor JEFFREY BAUMAN

Arch of triumph: Boca brass light fixture by Hudson Valley Lighting.

Managing Editor ELLEN FAIR

Design Director

Interiors Editor

Features Director

FLORENTINO PAMINTUAN

ROBERT RUFINO

INGRID ABRAMOVITCH

Photography Director

Market Director

Senior Editor/Writer

DAVID M. MURPHY

SABINE ROTHMAN

PETER TERZIAN

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Design Editor at Large

Articles Editor

MICHAEL PATTI

MIEKE TEN HAVE

PATRICK ROGERS

Associate Art Director

International Design Editor

Senior Editor, Articles

JEE E. LEE

CYNTHIA FRANK

KATHRYN O’SHEA-EVANS

Senior Associate Photo Editor

Senior Market Editors

Deputy Editor, Copy

LUIGI MENDUNI

JENNIFER JONES CONDON CATHERINE LEE DAVIS

MICHELE BERKOVER PETRY

Associate Photo Editor

Market Editors

NELIDA MORTENSEN

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LUCY BAMMAN BENJAMIN REYNAERT CARISHA SWANSON DAYLE WOOD

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Digital Production Manager

Features Copy Editor ANN LIEN

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Social Media Editor

Check in: Klimt wool rug by Commune for Christopher Farr.

Contributing Design Editor SENGA MORTIMER Special Projects Editors KATE RHEINSTEIN BRODSKY, TAMZIN GREENHILL, DEBORAH SHARPE International Coordinator MONIQUE BONIOL Production/Operations Director GERALD CHUCK LODATO Operations Account Manager JULIE BOSCO Premedia Account Manager CELESTE MADHERE CONTRIBUTING EDITORS JORGE ALMADA, DEBORAH BANCROFT, KATE BETTS, KEVIN CARRIGAN, NINA GRISCOM, KATHLEEN HACKETT, NANCY HASS, MAC HOAK, CATHERINE HONG, JEAN-FRANÇOIS JAUSSAUD, LULU DE KWIATKOWSKI, MICHAEL LASSELL, ROBERT LITTMAN, TIM M cKEOUGH, KEITH MEACHAM, JULIA REED, NINA SANTISI, PAUL SINCLAIRE, KIM VERNON, BUNNY WILLIAMS, WILLIAM YEOWARD PUBLISHED BY HEARST COMMUNICATIONS, INC.

President & Chief Executive Officer STEVEN R. SWARTZ Chairman WILLIAM R. HEARST III Executive Vice Chairman FRANK A. BENNACK, JR. Secretary CATHERINE A. BOSTRON Treasurer CARLTON CHARLES

Top shelf: Musa walnut, brass, and leather bookcase by Armani/Casa.

President DAVID CAREY President, Marketing & Publishing Director MICHAEL CLINTON President, Digital Media TROY YOUNG Chief Content Officer JOANNA COLES Senior Vice President, Chief Financial Officer DEBI CHIRICHELLA Publishing Consultants GILBERT C. MAURER, MARK F. MILLER All correspondence should be addressed to 300 West 57th Street, New York, NY 10019. Tel: 212-649-2000. ELLE® and ELLE DECOR™ are used under license from the trademark owner, Hachette Filipacchi Presse. Printed in the USA. To order back issues dated within the past two years (please note the issue dates), go to backissues.elledecor.com. For information on reprints and e-prints, please contact Brian Kolb at Wright’s Reprints, 877-652-5295 or bkolb@wrightsreprints.com.

32 ELLE DECOR

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34 ELLE DECOR

PROMOTION

HAPPENINGS CLOSET ENVY Large or small, a stunning walk-in closet is a room all its own. California Closets creates custom closets and organizational systems throughout the home. Chic and timeless with rich, Italian-inspired finishes and elegant displays, these sophisticated closet designs beautifully highlight dream clothing, shoe and handbag collections. For more ideas and inspiration please visit CaliforniaClosets.com.

THE HEARST DESIGN GROUP AND THE MINE HOST LEGENDS KICK-OFF COCKTAIL PARTY To celebrate LEGENDS 2017, The Mine and The Hearst Design Group hosted an exclusive cocktail party at the Sunset Tower Hotel in Los Angeles. Over 100 top interior designers and industry influencers joined the party to toast design on The Terrace overlooking West Hollywood. themine.com

B&B ITALIA INTRODUCES SAKé BY PIERO LISSONI B&B Italia adds to its collection of high-end furnishings with the introduction of SAKé created in collaboration with renowned Italian architect and designer Piero Lissoni. This highly contemporary seating system, distinguished by its sense of formal balance, is adaptable to both space and personal taste. The sofa seats are available in three sizes with embracing or linear backs and arms of various dimensions. Cushions and a supporting base in pewter lacquer contribute to the piece’s ethereal design. The seating system also offers a sofa bed—the only one offered through B&B Italia—that features the sofas’ distinctive seating and back elements. bebitalia.com Kate Kelly Smith, Hearst Design Group; Carolyn Englefield, VERANDA; Sophie Donelson, HOUSE BEAUTIFUL; Christina Schmutz, The Mine; Michelle Newbery, The Mine; Alexa Hampton, The Mine; Newell Turner, Hearst Design Group; Brenda Saget Darling, HOUSE BEAUTIFUL

Harmony Maker

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SCENE + HEARD

Glenveagh Castle.

the people & places behind the stories

Sissinghurst Castle. The Generalife palace at the Alhambra.

IN FULL BLOOM

The gardens at Glenveagh.

A textured-clay sculpture by Christian Astuguevieille.

MAN FOR ALL SEASONS Christian Astuguevieille, whose two apartments in Bayonne, France, appear on page 164, dabbles in nearly every facet of the design world, from rope-

38 ELLE DECOR

wrapped furniture to costume jewelry to perfume. This fall, Astuguevieille will add ceramist to his already overflowing résumé. “I’ve always been a lover and collector of pottery,” he says about his latest endeavor, which has been years in the making. Inspired by an imaginary civilization, his new collection of sensuously shaped clay vessels—available in a range of earthy shades that are painted or carved with graphic patterns—will debut at his Paris gallery in September. As for the future, Astuguevieille remains coy: “We have a lot of projects going on, but they’re all secret for now!”

1. Katsura Imperial Villa in Kyoto, Japan. “For its serenity.” 2. Glenveagh Castle in Letterkenny, Ireland. “For all the stories that make up a garden.” 3. Blenheim Palace in Oxfordshire, England. “For the landscape.” 4. Sissinghurst Castle in Kent, England. “For the use of herbaceous plants.” 5. The Alhambra in Granada, Spain. “For its visions created with water.”

Astuguevieille’s clay vessels waiting to be embellished.

GLENVEAGH CASTLE AND GARDENS: ALAMY; SISSINGHURST CASTLE, THE ALHAMBRA: GETTY IMAGES

French garden designer Louis Benech, who is profiled on page 80, has been creating distinguished landscapes—from the U.S. to South Korea—for three decades. He is also an inveterate traveler, touring the world’s great gardens whenever his schedule allows. Here are his five favorites:

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scene + heard scen LEFT: The Falk apartments. BELOW: John-Mark Horton at the 14th Factory art space in Los Angeles.

SNAP HAPPY Hearst Design Group market editor Benjamin Reynaert, who compiles ELLE DECOR ’s What’s Hot section (page 47), is well known in the design industry for his expertly curated Instagram feed: @aspoonfulofbenjamin. What began as a way for him to pass along advice to friends and family on mixing palettes and arranging blooms has since evolved into an inspiring feed

about all things design, flowers, and food, with a flourishing audience of more than 62,000 followers. “I try to keep those topics alive and well as an overarching theme. They’re really the things I’m most interested in,” Reynaert says. His secret to swoon-worthy posts? “I run all my photography through a free app called VSCO and oscillate between the F2, H1, and H2 filters.”

VIEW MASTERS Designer John-Mark Horton’s real estate holdings include not only a home in a former church almshouse on the French Riviera (page 158), but also a Los Angeles legend: Rudolph M. Schindler’s circa1939 Falk apartment building in Silver Lake, which Horton recently resuscitated. “After removing more than 60 years of accretions, it was interesting to

see what the space once looked like,” Horton says. “Many of my friends comment on the similarity of the two structures— both grow out of hillsides, with views over land and sea. Buildings are living entities, and uncovering design details brings me pleasure.”

DEEP FOCUS Before John M. Hall became a photographer, he studied classical dance with the American Ballet Theatre (“I did not have enough bravura,” he says), then moved to Paris and became a model (“What a trip—I was fearless, and scared to death”). But for more than 35 years, Hall has found success capturing interiors for design magazines— including the feature on Garance Aufaure’s home in Compiègne, France, on page 170—and creating his own fine art photography, finding ambience in everyday things such as canoes on a fog-shrouded lake and fading tulips. “There’s real technical skill that goes into seemingly effortless work,” he says. “It’s about space, form, light, and most important, some ‘soul.’ I shoot what I see.”

An abstract image by John M. Hall. WRITE TO US: Mailbox, ELLE DECOR , 300 West 57th Street, 27th floor, New York, NY 10019. E-MAIL: elledecor@hearst.com. FOLLOW US ON TWITTER: @ ELLEDECOR . LIKE US ON FACEBOOK: facebook.com/ELLEDECOR mag.

40 ELLE DECOR

It’s often said that art is a reflection of beauty. Our new Per Se ® Decorative faucet in collaboration with Saint-Louis Crystal embodies that adage. A blend of reflective crystal handles and sleek design, the Per Se collection is fine art for your bathroom. KALLISTA.COM

Lindsey Adelman’s Clamp light.

The Vanishing Twin chair by Material Lust.

EXERCISING RESTRAINT Form-hugging materials and other masochistic references associated with bondage are the latest fetish to dominate the design world. Meyghan Hill of Los Angeles–based (Wh)ore Haüs Studios was inspired by the multilayered straps she spotted on a pair of Saint Laurent high-heeled boots to create a marble-and-leather side table with brass-buckle detailing for her Restraint collection (whorehausstudios .com). Lauren Larson and Christian Swafford of New York studio Material Lust have brought their fascination with ancient symbols to their sculptural Vanishing Twin chair, handcrafted from painted wood or epoxy (material-lust.com). Lindsey Adelman designs her Clamp light from old industrial clamps found at American factories, which she plates in brass and pairs with handblown glass globes (lindsey adelman.com). And interior designer John Lyle has collaborated with jeweler Andrea Gutierrez, translating his Vestal table, composed of giant bronze nails, into the edgy gold-and–white sapphire Vestal cuff (johnlyledesign.com).

STYLE SHEET Shoes from Guo Pei’s 1002 Nights collection, 2010.

Restraint side table by (Wh)ore Haüs Studios.

Fashion-Forward Design

CLAMP LIGHT: DIANA CAPINERO/COURTESY OF LINDSEY ADELMAN; SHOES, GOWN, CUFF: COURTESY OF SCAD; PINTO PORTRAIT, PORCELAIN: COURTESY OF CHRISTIE’S

Vestal cuff by Andrea Gutierrez and John Lyle.

A MASTER’S TROVE The late Parisian designer Alberto Pinto was legendary for his ability to bring a wide range of styles— grand, lavish, sleek, and modern—to the decor of sumptuous homes and palaces, private jets, and yachts. This September, in collaboration with Pinto’s sister, Linda, who took over as head of his eponymous firm after his death in 2012, Christie’s France will be auctioning more than 1,000 pieces from his private collection, including Qing dynasty porcelain, Lalanne bronze tables, and Vuillard pastels (September 12–14; christies.com).

GOLDEN AGE It wasn’t until Rihanna marched up the stairs of New York’s Metropolitan Museum of Art at the Costume Institute’s 2015 gala in a luminous marigold cape by Guo Pei that the designer won international fame. This fall, the Savannah College of Art and Design’s FASH Museum of Fashion + Film in Atlanta showcases more than 30 of Guo’s opulent gowns and gravity-defying shoes (September 7–March 4, 2018; scad fash.org).

42 ELLE DECOR

A gown, left, and cuff from Guo’s Legend of the Dragon collection, 2012.

FROM TOP:

Alberto Pinto, c. 1970. Silver and porcelain pieces from his collection.

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HAPPENINGS ELLE DECOR AND THE SHADE STORE CELEBRATE THE A-LIST IN LAS VEGAS ELLE DECOR celebrated the new A-List Issue with The Shade Store at their new Las Vegas showroom. Editorial Director Newell Turner and The Shade Store CMO Michael Crotty welcomed local interior designers who enjoyed daytime cocktails, seasonal hors d’oeuvres, and a colorful candy bar inspired by The Shade Store’s fabric collections. Special guests A-Lister Nate Berkus and Jeremiah Brent stopped by to join the celebration.

ROCHE BOBOIS OPENS NEW U.S. SHOWROOMS Roche Bobois, the leading luxury French furniture brand, has just expanded to 29 U.S. showrooms. This summer, the third NYC showroom has opened in the heart of the Upper West Side while the fourth South Florida showroom has recently opened in the bustling Miami Design District. roche-bobois.com

Nate Berkus, Designer; Samantha Cuello, The Shade Store; Michael Crotty, The Shade Store; Connie Chiu; Jeremiah Brent, Designer; Nancy Golden, Designer; Newell Turner, Hearst Design Group

IMM COLOGNE CELEBRATES TRENDS IN DESIGN AND DÉCOR The beginning of the 2018 furniture year is heralded by the most important event in its calendar: imm cologne presents the trends that will be shaping the furniture and interiors sector. You will find a unique variety of interior design ideas for every room, every style, and every requirement. imm-cologne.com

ELLE DECOR AND DESIGN WITHIN REACH AT LEGENDS 2017 Design Within Reach and ELLE DECOR partnered to host a lively panel during LEGENDS in Los Angeles at the DWR West Hollywood Studio. Executive Director of Special Projects Karen Elizabeth Marx was joined by top design talent Joel Barkley, Mary McDonald, Michelle Nussbaumer, and Sam Moradzadeh to discuss the importance of authentic design. dwr.com

Karen Elizabeth Marx, ELLE DECOR; Michelle Nussbaumer, Interior Designer; Sam Moradzadeh, Woven; Mary McDonald, Interior Designer; Joel Barkley, Interior Designer

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Dispatches from the World of Design

Made of a single sheet of extra-light glass, the Folio desk by Yabu Pushelberg for Glas Italia derives its shape from a piece of folded paper. 52.5• w. x 25• d. x 29.5• h., $4,156. ddcnyc.com

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what’s hot 1

SUBCONTINENTAL

CURVE APPEAL

TABLE ART

LITERARY WORK

BOLD & BEAUTIFUL

Paris-based designer Usha Bora looks to the handweaving and block-printing techniques of her native eastern India to create vibrantly patterned cushion covers, bags, and scarves for her Jamini brand. Ashu in Blue, left, and Ashima in Red are shown. The cotton pillow covers come in several additional colors. 16• h. x 26• l., $133 each. jaminidesign.com

The Lloyd chair, by Baltimore design firm Crump & Kwash, is a contemporary update of the traditional corner chair. Its seat is available in a variety of oil-finished woods and metals, including Walnut with Bronze vertical rungs, shown. 27• h. x 23• w. x 21• d., $1,500. crumpandkwash.com

Marco Lorenzetto, an Italian painter living in Los Angeles, pays homage to the colorful ceramics of his hometown of Faenza with an exclusive line of porcelain tableware for Bergdorf Goodman. Stella, top and middle, and Confini are among six patterns and 18 designs. Stella: 8• dia., $135; 10.5• dia., $160. Confini: 10.5• dia., $150. bergdorfgoodman.com

Todd Nickey and Amy Kehoe designed their Dining with Books furniture collection to lend a literary atmosphere to any room. The elegant étagère has a turned-brass frame and white oak shelves. Custom options are available. 33.5• w. x 16• d. x 73.5• h., $3,350. nickeykehoe.com

A minimalist expression in plush upholstery, the Chaise lounger by designer Syrette Lew’s studio Moving Mountains sports a maple finish and mohair by Maharam in Canela, shown. Custom options are offered, including c.o.m. 70• w. x 37• d. x 25• h., $9,500. mvngmtns.com

1, 3: PAMELA COOK/STUDIO D

what’s hot 1

RETRO MODERN

HIGH MARKS

ILLUMINATED

MATCHED PAIR

An iconic design by Danish master Poul Henningsen, the PH5 pendant lamp, one of a series of three-shade aluminum fixtures created to reduce glare, was first produced by Louis Poulsen in 1958. Soft White/Rose, shown, is one of four new colorways. 19.5• dia. x 11• h., $950. louispoulsen.com

A quote by Swiss modernist painter Paul Klee—“A line is a dot that went for a walk”—inspired the multicolored Wandering Mark wool rug by Minna. Handwoven in Guatemala, it comes in three colorways, including Bright, shown. 5• x 7•, $850; other sizes available. minna-goods.com 3

Catalan designer Eugeni Quitllet fashioned the Satellight table lamp for Foscarini to evoke a hovering celestial sphere. A handblown diffuser made of milky white glass is surrounded by a clear glass base. A hanging version is also available. 9• dia. x 15• h., $782. foscarini.com

Made of glazed ceramic, Charles Kalpakian’s Dot Twin stools for Christophe Delcourt perform double duty as sturdy side tables. The sculptural seats come in Blue, shown, and custom colors. 12• dia. x 16• h., $4,065 per pair. avenue-road.com

STATEMENT PIECE

3, 4: PAMELA COOK/STUDIO D

Asymmetrical legs—three on one side, two on the other—characterize the Roll Keramik table from Cattelan Italia. Shown with a ceramic top and lacquered-steel legs, it is available in other materials, as well as alternate shapes, sizes, and leg counts. 59• d. x 118• l. x 29.5• h., $7,608. cattelanitalia.com

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Untitled (Glass on Body Imprints– Face), a 1972 photograph by Ana Mendieta.

Stop Making Sense COURTESY OF THE MET BREUER

AN INTERNATIONAL EXHIBITION OF MID- AND LATE-20TH-CENTURY ARTISTS CELEBRATES THEIR DEFIANT RESPONSES TO A WORLD IN UPHEAVAL, IN WHICH LOGIC AND REASON NO LONGER SEEMED TO APPLY

From the straitlaced conformism of the 1950s to the urban decay of the 1970s, artists had plenty to react against in the second half of the 20th century. A new exhibition, “Delirious: Art at the Limits of Reason, 1950–1980,” at the Met Breuer in New York, shows the ways in which 62 artists from all over the world approached an irrational era with anger, pathos, irony, and wit. The works include Philip Guston’s cartoonlike paintings of PRODUCED BY PATRICK ROGERS

garbage piles, Ana Mendieta’s self-effacing photographic selfportrait (made by pressing her face against a plate of glass), and Yayoi Kusama’s folding ladder overgrown with bulbous anatomical forms. Arranged under rubrics like Vertigo and Excess, the roughly 100 paintings, photographs, and sculptures re-create—and heighten—the chaos, as if to say there’s no other way out (September 13–January 14, 2018; metmuseum.org).

ELLE DECOR 53

what’s next DAYS OF GLORY While many of his postwar contemporaries stuck to stately hues and blowsy florals, British designer David Hicks filled his interiors with graphic prints and lavish colors that pulsed with energy and mod glamour. Nearly 20 years after Hicks’s death, the style maker’s son, architect and designer Ashley Hicks, has released David Hicks Scrapbooks (Vendome), an artfully condensed sampling of the 25 leather-bound volumes of press clippings, snapshots, and mementos—including Princess Margaret’s gold-embossed weddingbreakfast invitation—that the elder Hicks compiled. Every aspect of his life was curated, Ashley writes, “none more so than these books.”

IN THE LOOP

Thalia, Muse of Comedy, 1739, by Jean-Marc Nattier.

Housed in an Art Deco tower on Chicago’s Magnificent Mile, the Gwen hotel pays tribute to a local hero of design, sculptor Gwen Lux, whose 1930s impala motifs adorn both the building’s facade and the guest rooms. The hotel’s fifth-floor cocktail lounge offers a terrace overlooking the city— above the fray, yet still part of the action (thegwenchicago.com).

Sex, gold, and gambling: What sounds like a lusty romance novel is the theme of the new exhibition “Casanova: The Seduction of Europe,” at the Kimbell Art Museum in Fort Worth, Texas. The witty memoirs of Venetian courtier Giacomo Casanova—an acquaintance of Benjamin Franklin and seducer of many—act as a guide to 18th-century art and finery; pieces include ivory gambling sets, jeweled telescopes, and Canaletto paintings (August 27– December 31; kimbellart.org). A Frankish Woman and her Servant, c. 1750, by JeanÉtienne Liotard.

RAISING A GLASS

San Francisco decorator Catherine Kwong was given clear direction when she was asked to design the Brown Downtown wine-tasting room in Napa, California: Make it “snob-free,” said siblings Deneen, David, and Coral Brown, owners of the Brown Estate vineyard. The striking yet warm dining room features arched windows, brick walls, and a mural of a figure inspired by scary stories told by the owners’ Jamaican uncle. With flights of wine and cheese plates garnished with the family matriarch’s hand-cut marmalade, “it feels like a party,” says Kwong (brownestate.com).

GRAND TOUR

what’s next Baboon appliqué, linen, 330–305 BCE.

Egyptian ibis coffin, wood, silver, gold, and rock crystal, 330–305 BCE.

ANCIENT ANIMALS In an era when household pets are considered part of the family, a new exhibition at the Brooklyn Museum, “Soulful Creatures: Animal Mummies in Ancient Egypt,” is sure to strike a chord. The first devoted to the ritual mummification of cats, dogs, snakes, birds, and other creatures, the show explores a little-known aspect of the Egyptian belief system in which the

preserved bodies of dead animals (but not pets) were thought to act as intermediaries with the gods, like “problem-solving devices sent to help with issues on Earth,” says curator Edward Bleiberg. Among the 45 mummies are several with no actual remains inside, perhaps fakes sold, he notes, by disreputable priests (September 29–January 21, 2018; brooklynmuseum.org).

HARBOR VIEWS

Guests at the new Sagamore Pendry hotel in Baltimore’s revitalized Fell’s Point district don’t even have to venture outside to experience a taste of the city’s past: Under a glass panel on the floor of the hotel’s Cannon Room whiskey bar is an 18th-century cannon unearthed during recent construction. “We wanted to engage the spirit of Baltimore,” says interior designer Patrick Sutton, who oversaw the more than $60 million transformation of the city’s dilapidated Recreation Pier into a luxury hotel with 128 rooms and suites. The Pendry boasts a private dock with watertaxi service to points of interest around the city and a soulful Italian restaurant, at left, overseen by celebrated chef Andrew Carmellini (pendry hotels .com/ baltimore).

56 ELLE DECOR

ANIMAL FIGURES: COURTESY OF THE BROOKLYN MUSEUM; HOTEL: CHRISTIAN HORAN, COURTESY OF THE SAGAMORE PENDRY BALTIMORE

Cat coffin with mummy, 664–332 BCE.

unconventional wisdom LIAIGRE ON THE ART OF MINIMALISM It may come as a surprise that the ultimate minimalist designer swoons over the ultimate maximalist masterpiece. “At Versailles,” says Christian Liaigre, “nothing has been left to chance. Everything from the furniture to the doorknobs to the napkins has been carefully considered.” Liaigre lavishes the same attention on his opulent yet pared-down interiors, in which sumptuous leathers, dark woods, works of art, and a neutral palette—heightened by occasional swaths of rich color—combine to create cinematic glamour. A native of western France, Liaigre studied painting before opening his Paris studio in 1985; Calvin Klein and Karl Lagerfeld have been clients. In 1998, at New York’s Mercer Hotel, he created what became for years the template of boutique hotel design. Today, he’s acting as architect on a new house for his family and has edged away from his trademark spare style. But Liaigre will always be Liaigre: “The scenarios may change,” he says, “but the author stays the same.” PETER TERZIAN

LEARNING CURVE • I grew up near La Rochelle, in a maritime region where the landscape is flat and the beaches are endless. The houses were austere, made of massive white stones. The interiors smelled of leather horse harnesses. My first experience of decoration was the mix of antiques and African art brought back by the local mariners. To find this in such humble houses wasn’t common in the 1960s. • My father was a veterinarian and a horse breeder. I’ve been riding horses since the age of nine. Horses taught me about smoothness and rigor. • I’ve liked drawing since childhood. Back then, I had a very patient drawing teacher who taught me the fundamentals of Greek art and 18th-century European culture. The Hall of Mirrors at Versailles.

• I left western France when I was 17 to study painting at the École des Beaux-Arts in Paris. There I met Alberto Giacometti, who was almost unknown at that time but for whom I had great admiration. Sometimes he would invite me to his studio to look at his sculptures and drawings. One day, I ran into him at La Coupole in Montparnasse, and he invited me to join the group of artists he was sitting with. Picasso was among them.

POETIC LICENSE • My career as an interior designer began in the early 1980s, when I became the assistant of Roger Gain, a photographer of interiors. Every month, the French edition of Elle would devote a few pages to furniture, and I would work on the studio sets.

A house in Malibu designed by Liaigre.

• In the early ’80s, I designed a house for a collector in Bangkok and had the chance to stay for a few days at the home of the late American silk merchant Jim Thompson. It was a way to feel his freedom and vision. He was the man who understood that interior design deeply needed poetry. • From the start, my aesthetic has been based on calm and sobriety. I was reacting against the Italian exuberance that dominated design at that time. • Minimalism corresponded to a period of time when I was in search of the essential. My style has evolved over the years, but it has always drawn from my roots in the land and my love for leather and wood. • The work of Jean-Michel Frank has been an inspiration. I discovered that the first chair I designed was essentially the same as a Frank chair, although I didn’t actually know who he was at the time.

FROM TOP: MELONIE FOSTER HENNESSY; JEAN-PHILIPPE PITER; GETTY IMAGES. FOR DETAILS, SEE RESOURCES

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unconventional wisdom The master bath of Liaigre’s St. Barts vacation home.

The living room of hotelier Ian Schrager’s apartment in New York.

THE INSIDE STORY • My clients come to me because they appreciate my style. They feel confident when I propose new ideas. They seek a distinguished interior. • Clients in the United States have different expectations than clients in Europe. They’re looking to make more of a statement. Interiors tend to be larger than in Europe. The focus is more on the contemporary. • I avoid useless decoration. I prefer nature, rough wood, and leather that contrasts with

the smoothness of silk. Beauty can be a bulwark against our fears. • The ideal home has a real personality. Nowadays, there are too many similar interiors with the same furniture, the same architects, the same books displayed on the same coffee tables.

SEA CHANGE • Tastes have changed since the beginning of my career. People are more relaxed, and interiors have followed suit.

• The colors I use are chosen to correspond with the artworks I hang on the walls. White is an easy choice, but sometimes a dark wooden wall or a color enlarges the work or gives it more depth. • If your budget is limited, focus on lighting. Meet with a lighting designer who can help bring a luxurious quality to your interior.

GUEST APPEARANCES • When you design a hotel, you want to keep the spirit of the surrounding city and create surprises. Too many hotels look similar. • At the new Costes hotel in Paris, I’ve been working with sculptors Mathieu Nab and David Altmejd. They’re making pieces exclusively for the hotel that are integral to the decor—the design is built around them. • Designing a yacht is challenging because the client isn’t able to change anything. The furniture is fixed, and it’s impossible to move it around.

PERSONAL PREFERENCE • I’m working on a house for myself in Arras, where for the first time I’m handling the architecture as well. It will have room for my horses, of course. I now have a lot of work in Normandy, because many horse breeders have asked me to do their houses.

The Mercer Hotel in New York.

60 ELLE DECOR

• I don’t like traveling, but as soon as I am in a pleasant location, I want to have a house there. I visit houses that are for sale just to fantasize about how I would arrange them. ◾

CLOCKWISE FROM TOP LEFT: MARK SEELSON; WILLIAM ABRANOWICZ; MARK SEELSON; THOMAS LOOF/COURTESY OF THE MERCER HOTEL

Vertigo, a 220-foot yacht with interiors by Liaigre.

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great ideas REFLECTED GLORY

MIRRORLIKE LACQUERED WALLS HEIGHTEN THE DRAMA OF ANY ROOM IN THE HOUSE

ERIC PIASECKI

Fashion editor Jackie Astier had the dining room walls of her family’s Manhattan apartment painted with 10 coats of lacquer. The table is made from a pair of 1970s brass bases she found on eBay, the ’40s French chairs are upholstered in a Lelievre velvet, and the rug is by the Rug Company.

64 ELLE DECOR

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1 In the entrance hall of his Manhattan apartment, decorator Todd Alexander Romano finished the walls in a vibrant custom green lacquer. The circa-1970 console is by Willy Rizzo, the 19th-century chandelier is European, and the prints are by Josef Albers. 2 The five-story atrium of Christine and Richard Mack’s New York City townhouse—designed by James Aman, with architecture by Leroy Street Studio—features a Venetian plaster–clad floating staircase. The white lacquer bounces light around the space. 3 Dark blue lacquer adds depth and dimension to the bathroom of a Paris apartment designed by Franz Potisek. 4 Designer and boutique owner Kate Rheinstein Brodsky painted the ceiling of her Manhattan living room in Farrow & Ball’s Wimborne White in full gloss, a reflective finish very close to lacquer. The finish is less complicated to apply than true lacquer, with fewer layers of paint and less sanding and buffing required. Yet the magical effect of a lustrous ceiling is still there—it almost disappears.

CLOCKWISE FROM TOP LEFT: WILLIAM ABRANOWICZ; DOUGLAS FRIEDMAN; NICOLAS MATHÉUS; SIMON UPTON

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Haynes and Kevin Roberts shine in a custom shade of purple. The Jean Royère armchairs are upholstered in an Edelman leather, the Mattia Bonetti cocktail table is custom, and the 1970s white leather chair is by Olivier Mourgue. 6 In a Manhattan sitting room designed by Jeffrey Bilhuber, lacquered yellow walls give off a warm glow on the grayest of days. The window frames are painted with a whimsical pattern inspired by an 18th-century folding screen. The 1920s bergères are Italian, and the low chairs are covered in a Toyine Sellers stripe. 7 Interior designer Jean-Louis Deniot painted the master bath of this Paris apartment in aqua lacquer, which has a wet, almost liquid effect. ◾ 6

68 ELLE DECOR

CLOCKWISE FROM TOP: WILLIAM WALDRON; SIMON UPTON; WILLIAM WALDRON

5 The walls of a Manhattan library decorated by Timothy

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70 ELLE DECOR

Petal and Red, and Les Riziere in Citron. brunschwig.com.

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My favorite hotel, not because I designed it, but because of the dunes, the waves, and the sunset.

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When I have to fly, the hood is my protection. I forget everything around me and sleep like a baby.

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9. Champagne bucket.

7. A favorite book.

TRACING PAPER PAD

Specially produced for me and encased in plastic, so it resists inclement weather and humidity.

“I’m a professional dreamer,” 3. Pentel pencil. says Philippe Starck. “My goal 5 IMARÉES HD APP is to live in a permanent state of I live near Arcachon Bay on France’s creativity where anything can happen.” western coast, and this app tells me when Indeed, the French designer’s ingenious and the tide will come in and go out. cheeky furnishings and objects—a desk-style 6 MY TATTOO lamp larger than a human, a stainless steel My wife, Jasmine, and I have the same kitchen knife imprinted with wood grain, headtattoo on our arms, marking our years of marriage and the birth of our daughter. phones that react to bodily movements—bring a dose of imagination to the everyday. The son 7 A FRACTION OF THE WHOLE Steve Toltz’s novel has an unusual point of of an aircraft engineer, Starck rose to stardom view and a sense of humor. in the early 1980s when he remade a private 8 QUINOA suite at the French presidential palace. When I’m not traveling, I eat it with honey Since then, he has brought postmodern for breakfast and with a spicy sauce that I playfulness to hotels (including Paris’s make myself for lunch and dinner. Le Meurice and the SLS in Beverly Hills) 9 A CHAMPAGNE BUCKET and restaurants (such as the recently To bring to the homes of friends who don’t know that Champagne needs to be chilled. opened Miss Paradis in New York’s SoHo). Lately, he says, he’s been experimenting 10 UNDER ARMOUR SHOES WITH MICHELIN SOLES with “immateriality,” exemplified by The most technologically sophisticated a new line of fragrances. “For the first sneakers. The easy-to-use laces are a time in my life, my dream stays a dream lifesaver when I fly four times in one day. and doesn’t become a chair.” PETER TERZIAN 11 THE 24-HOUR STARCK MIX BY SOUNDWALK

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My friend Stephan Crasneanscki, the world’s best sound designer, created a day’s worth of sound and music for me.

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5, 8, 9: GETTY IMAGES. FOR DETAILS, SEE RESOURCES

2. Cashmere hooded sweater.

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Oyster Perpetual Lady-Datejust stainless steel watch by Rolex.

Bikini lipstick and Preciosa lip gloss by Christian Louboutin.

Ebony cut fringe* by Houlès.

Iris chair by Fendi Casa. Sundance metallic cotton blend* by Donghia.

Stretch Knot clutch bag by Bottega Veneta.

Nesso wool-blend rug by Matteo Cibic for Scarlet Splendour.

Ninfea leather* by Studioart.

DUSTY PINK DESIGNERS ARE LOOKING THROUGH ROSE-COLORED GLASSES AND GIVING A BLUSH OF SUBTLE COLOR TO FASHION AND FURNISHINGS.

Vague silk-cotton* by Rubelli.

BY LUCY BAMMAN

Shell spoons from Aero.

Bali woolcotton* by Sahco.

Flower Top drop earrings of pink opal, black diamond, 22-karat gold, and silver by Arman Sarkisyan.

Fazzoletti Murano glass– and–gold leaf vases by Venini.

Dimore Studio exhibition at Salone del Mobile 2017, in Milan.

Caglio velvet slide by Rochas.

Mid bronze-andleather credenza by BDDW.

Prima alpaca– merino wool blend* by Sandra Jordan.

Escape bookcase of cast sand and powdered glass by Fernando Mastrangelo for Maison Gerard. INTERIOR: PAOLA PANSINI/COURTESY OF DIMORE STUDIO; FRINGE, LIPSTICK, LIP GLOSS, LEATHER, CLUTCH, FABRICS, SPOONS: PAMELA COOK/STUDIO D. FOR DETAILS, SEE RESOURCES

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SINCE 1830

talent Jarrige in his Paris studio.

AHEAD OF THE CURVE Jacques Jarrige has fashioned sleigh-like sofa frames out of rebar, made monumental screens with abstract cutouts from lacquered medium-density fiberboard, and used twisted aluminum to create

76 ELLE DECOR

gleaming chandeliers. Just don’t call him a designer. A Parisian who resides in the Marais district and works in a studio near Versailles, Jarrige briefly studied architecture at the École des Beaux-Arts before switching to the design program, and even then he was restless. “Architecture was not direct enough. I had to work with my hands,” he recalls. “But design is an awful word for me, too, since I don’t rely on drawn-out plans.” For years, he didn’t dare call himself a sculptor, or an artist, either, although now he admits with a laugh, “I’m very full of myself.” That hardly seems true. For more than two decades, Jarrige has grounded his life and work by teaching woodworking to patients in a Paris psychiatric hospital; he allows the irregular lines they

Omega gold plated–brass necklace, 2014. LEFT: Jarrige’s sketch of a large stabile sculpture.

PORTRAIT: MICHEL FIGUET, NECKLACE: KARIN KOHLBERG, DRAWING: GARRET LINN, COURTESY OF VALERIE GOODMAN GALLERY. FOR DETAILS, SEE RESOURCES

IN THE HANDS OF PARIS-BASED ARTIST JACQUES JARRIGE, EVERYTHING FROM FURNITURE TO JEWELRY TAKES ON THE SINUOUS FORMS AND EXPRESSIVE VITALITY OF SCULPTURE. BY VICK Y LOWRY

The Felix Collection

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talent This autumn, two of Jarrige’s hand hammered–aluminum sculptures make their public debut—a 10-foot-long mobile for the entryway of a school in a Paris suburb and a 40-foot-long piece for the sculpture park of the Rockland Center for the Arts in West Nyack, New York. Meanwhile, a line of jewelry, including cuffs, rings, and necklaces, packs just as much visual punch as its larger companions. “The scale is not important to me; I get the same pleasure whether I’m twisting wire or wood,” Jarrige explains. “For me, it’s like a pas de deux—I’m always sculpting. I feel most alive when I’m playing with my hands.” ◾ BELOW, CLOCKWISE FROM LEFT: A custom-built

plywood workstation. Jarrige’s Meanders folding screen of lacquered fiberboard, 2012. Meanders oak stool, 2006. Fiori brass chandelier, 1998.

LAMPS, SCREEN, AND STOOL: GARRET LINN, COURTESY OF VALERIE GOODMAN GALLERY; CHANDELIER: MICHEL FIGUET; DESK: FLORIAN KLEINEFENN, COURTESY OF VALERIE GOODMAN GALLERY

Adam and Eve gold plated–bronze table lamps, 2005.

produce to influence his own creations. His Meanders collection, for instance, includes everything from a giant screen to cabinets and rugs, all featuring soft, fluid cutout shapes that recall the way rushing water erodes a riverbank and pools in an eddy. While Jarrige may eschew the design world, the design world has certainly caught on to him. Michael S. Smith, Robert Couturier, Victoria Hagan, and Peter Marino have bought pieces. Tom Ford picked up bronze andirons for his fireplace, and decorator Kimille Taylor commissioned brass chandeliers for the living and dining areas of her New York apartment (ELLE DECOR May 2017). Jarrige’s sole U.S. outpost is the Valerie Goodman Gallery, on Manhattan’s Upper East Side.

78 ELLE DECOR

talent

LOUIS BENECH, FRANCE’S MASTER GARDEN DESIGNER, CONJURES A BOLD AND BEAUTIFUL FUTURE WHILE REMAINING LOYAL TO THE BEST TRADITIONS OF THE PAST IN LANDSCAPES ALL OVER THE WORLD. BY PATRICK ROGERS It stands to reason that a man who dedicates his life to gardening would also be a lover of plants. But the way Louis Benech handles them—the way he talks about plants, places them, and plays with them—reveals a passion for botany that runs deeper. “I’m mad about plants.

They’re never far from my mind,” says Benech, who, before gaining fame as one of the world’s great landscape designers, worked and studied for three years in the greenhouses of England’s famous Hillier nursery. There, to the surprise of his more scientifically minded colleagues,

The garden of the National Archives in Paris, designed by Benech in 2011.

PORTRAIT: GETTY IMAGES; NATIONAL ARCHIVES: COURTESY OF LOUIS BENECH. FOR DETAILS, SEE RESOURCES

LORD OF THE GREEN

the law-school graduate regularly scored highest on the weekly plantidentification quizzes, he says. “The others were sort of amazed. That’s kind of a tricky thing, and yet I could do it more or less blind.” Nearly three decades have passed since then, during which Benech has created landscapes on five continents, both public commissions and private domains for clients with names like Guinness and Saint Laurent and Grimaldi. His latest, unveiled in Paris this summer when the Hôtel de Crillon emerged from a four-year refurbishment, is a pair of tiny urban oases tucked into dark courtyards in the heart of the city. “They’re spaces that get three minutes of sun a day, in June, at lunchtime,” jokes Benech, slightly rumpled in the sturdy jacket of an English outdoorsman and trousers the color of the Mediterranean Sea. The result is a lush take on a classic French orangery in the hotel’s Cour d’Honneur, with camellia-filled oak tubs copied from originals at Versailles and walls covered in Trachelospermum jasminoides, a climber with a fresh green leaf and fragrant blossoms in summer. Murmuring bronze water fonts by Canadian sculptor Marie Khouri add a playful

ÂŠ 2017 Design Within Reach, Inc.

Matthew Hilton Designer of the Kelston Sofa www.dwr.com

talent

A boxwood hedge in the garden of a client in Saint-Tropez, 1995.

Benech’s leafy Cour Gabriel at the Hôtel de Crillon in Paris.

touch: They’re shaped like heads of cabbage that have been prized open by a child. In an adjacent courtyard, on the private terrace of a suite named in honor of Marie Antoinette (who reportedly took music lessons in the building), wicker

82 ELLE DECOR

planters evoke the gardens of the Trianon, spilling over with a pink-blooming mix of bleeding heart, anemone, African Diascia, and flowering chive that Benech describes as “Sofia Coppola–esque.” Benech has avoided being pegged with a signature style, although his gardens are often admired for combining the straight lines and clipped geometries of French formalism with overgrown English romanticism. His breakthrough came in 1990 when, with fellow gardener Pascal Cribier and architect François Roubaud, he rejuvenated the Tuileries Garden in Paris, peeling away a century of overgrowth to restore sight lines to the Champs-Élysées and cheekily planting rows of yellow- and orange-flowering fennel. A quarter of a century later, he created the first new garden at Versailles in more than 100 years, called the Water Theater grove—a contemporary design so inventive and harmonious that it

Watercolor sketch of the Water Theater grove at Versailles, 2014.

A garden path at Château de Pange, France.

seamlessly takes its place in a landscape considered to be a masterpiece. “I could make my little statement,” he explains, “but for me, concept is less important than context.” The challenge of his profession, says Benech, is to create spaces that are alive and beautiful today and will remain so tomorrow. “You think a garden exists because of one person with a big idea,” he says humbly. “Not really. It exists because of the people who look after it every day, all year long, year after year.” Spoken like a true gardener. ◾

SAINT-TROPEZ: ERIC SANDER; COUR GABRIEL: COURTESY OF HÔTEL DE CRILLON; CHÂTEAU DE PANGE: COURTESY OF LOUIS BENECH; WATERCOLOR: FABRICE MOIREAU

Blooming perennials at the Château de Villandry, in the Loire Valley.

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SPOTLIGHT

MOLTENI&C INTRODUCES THE D.156.3 ARMCHAIR— A DESIGN MASTERPIECE BY GIO PONTI The ergonomically correct Gio Ponti D.156.3 Armchair, originally designed in 1956 by the master himself, has been remade by Molteni&C and introduced at this year’s Milan Design Fair. With a quilted cushion available in three textiles and three leathers, the piece can be customized upon request. Molteni.it

JULIAN CHICHESTER A sensual boomerang shape gives the Deneuve Cabinet from Julian Chichester a sophisticated and sculptural edge. Shown here in high-gloss lacquered teal vellum, it is also available in black or ivory as standard options. julianchichester.com

NEW ELECTRIC WALL PANELS BY RUNTAL

KERRY JOYCE TEXTILES Kerry Joyce Textiles introduces his new Performance fabric, the ethereal Odetta Sheer. It is woven in 100% solution dyed polyacrylic and is available in 3 exquisite colors. Perfect for indoors and out. kerryjoycetextiles.com

Runtal adds wall panels to its electric line. An excellent source of primary or supplemental heat, Runtal electric products provide efficient and comfortable radiant heat. Attractive (available in over 100 colors), durable, and easy to install. runtalnorthamerica.com 800.526.2621

waveforms

A luminous interior surface peeks through a rhythm of undulations, revealing the light from within these dramatic LED pendants. Shaped in a deep bell or as a broader dome, these sculptural forms are available in several sizes and finishes. Explore the possibilities at: www.sonnemanawayoflight.com.

www.sonnemanawayoflight.com U.S. and foreign patents pending.

L i f e . We l l l i v e d .

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inspiration

AMERICANS IN PARIS

WHEN VISITING THE CITY OF LIGHT, WHO HASN’T FALLEN IN LOVE WITH THE CULTURE, THE ARCHITECTURE, THE LEGENDARY CUISINE? BUT SOME ROMANTIC FRANCOPHILES TAKE THE NEXT STEP. AMONG THIS PASSIONATE CROWD ARE FOUR AMERICAN DESIGNERS ENJOYING THE EXPAT LIFE IN PARISIAN HOMES OF THEIR OWN, FROM A LEFT BANK TRIPLEX TO A RIGHT BANK FLAT TO AN ANCIENT HOUSE IN THE MARAIS. LIVING LIKE A LOCAL DOESN’T HAVE TO BE JUST A DREAM. BY PAUL O’DONNELL

Vive la Différence The material advantage of Paris is simple, says Frank de Biasi: “What you get is twice the size of a New York apartment for half the cost, plus 14-foot ceilings and

18th-century windows.” But it’s the intangibles that make the city “like oxygen for me,” says the Manhattan decorator. “The French are creatively so inspired. They love the art of beauty, and they love creating beauty.” That devotion to craft, de Biasi says, makes Paris a design professional’s paradise, with furniture workshops, fabric makers, and artisans of every kind of hardware. That creativity extends, he warns, to Paris’s charmingly idiosyncratic housing stock. “You have to be open to different layouts,” de Biasi says, citing the inbetween floor with oddly low ceilings, called an entresol, in his own Boulevard Saint-Germain triplex. In addition, many of the city’s buildings were constructed before the advent of indoor plumbing and air-conditioning. Be prepared, he says, to find retrofitted bathrooms in odd spots, like the sink and toilet wedged into a closet off his dining room: “It’s all a pain, but I love it.”

CLOCKWISE FROM TOP: In the living room of

interior designer Frank de Biasi’s Left Bank triplex apartment, the slipcover on the sofa is made from a 19th-century printed linen, and the rug is by Doug & Gene Meyer for Holland & Sherry. In the kitchen, a marble bust of Perseus stands in a niche. The cabinet in the dining room displays Lunéville porcelain. For details, see Resources.

ELLE DECOR 87

inspiration

Taste of Freedom “Paris loosens your inhibitions,” says Los Angeles–based designer Timothy Corrigan, who bought and renovated his Right Bank apartment near the Rue du Faubourg Saint-Honoré in 2014. “I’ve played it safe in my homes in America, but in Paris I use red everywhere.” The city’s ubiquitous flea markets and infinite range of independent shops inevitably encourage him to be more eclectic, he says. In the living room of his 19th-century home, Corrigan has combined 18th-century antiques and 1930s French vintage pieces with furniture from his own line for Schumacher. “It’s so easy to find unusual things here that you can’t help but mix it up more than at home.” The flat is Corrigan’s fourth home in Paris, which he discovered in his previous career as an advertising executive; he now also owns a château in the Loire Valley. Given the high closing costs of

buying property in France, he advises renting until you know which arrondissement is right for you—a home away from home in a cosmopolitan neighborhood (“The Île Saint-Louis is 40 percent Americans,” he offers), or a two-block side street like his, where only French is spoken. “Where you live depends on what you want your life to look like,” he says.

MARJORIE PREVAL

FROM TOP: In the dining room of interior designer Timothy Corrigan’s Paris apartment, the Louis XVI–style chairs are by Moissonnier. The headboard in the guest bedroom is by Ballard Designs. In the living room, the armchairs were designed by Corrigan for Schumacher, and the stools are by Maison Jansen. For details, see Resources.

88 ELLE DECOR

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inspiration

CLOCKWISE FROM LEFT: The living

room of interior designer Tom Scheerer’s townhouse in the Marais district features a Saarinen table and a Thonet bentwood chair. The 18th-century oak console in the entrance hall was purchased in Hudson, New York. In the master bedroom, the Indian bed is upholstered in a Hinson grass cloth. For details, see Resources.

Tom Scheerer spent two years beautifully restoring a small house in the Marais district that dates from the 15th century, but he still feels slightly embarrassed when French friends visit. “I bought a lot of French furniture,” confesses the Park Avenue decorator best known for his breezy eclecticism. “I indulge myself at the flea market because it’s such instant gratification to buy there.” That said, developing a network of resources can take time for a newcomer to Paris, he says. “I’m used to going to ABC Carpet & Home and seeing a million carpets. Everything in Paris is kind of mom-and-pop.” And be prepared for a touch of the local brand of design snobbery, he warns: “The French are now into modernism, but only French modernism. It’s very regional.” But if Scheerer still isn’t entirely at home in Paris, that’s how he likes it. “I’m a wide-eyed tourist,” he says, albeit one who puts his five-bedroom, five-bath house, as well as nearby butchers and cheese shops, to full use by entertaining often—mostly his fellow expats.

90 ELLE DECOR

SIMON UPTON

Local Colors

inspiration A Home Away One afternoon in mid-August 17 years ago, Penny Drue Baird started crying, “as I did every year when it was time to leave France and go home,” recalls the founder of Dessins, based in Manhattan. But that particularly fateful day, Baird’s husband surprised her by saying, “Let’s stay.” Soon the couple were in Paris, looking at “three gigantic rentals,” says Baird, and they settled on one the very same day. They now own an apartment among the antiques stores and fabric houses of Saint-Germain-des-Prés (“My stomping grounds for my adult life,” says Baird), and the story of their first Paris home reflects the relative ease of finding a place to live there. “There is less of a frenzy,” she says. One calming influence is the lack of a multiple-listings system. Each real estate agent can show only his or her own clients’ properties. “It’s old-fashioned, but you are not competing with every other person.” Adding to the necessary footwork is the sheer diversity of what’s on offer: Among the ancient warrens in the city center and the high-ceilinged, Haussmann-era classics along the grand boulevards are idiosyncratic choices in all of the city’s enclaves. Despite her own trademark glossy formal style, Baird says she has also come to admire the locals’ chic way with the contemporary. “The French do modern in a traditional setting better than anyone,” she says. ◾

CLOCKWISE FROM TOP: In the dining room of decorator Penny Drue Baird’s Paris home, chairs she found at the Marché aux Puces are covered in a Pierre Frey fabric. The mirror in the master bath is by Flamant. The living room sofas are by Nobilis, and the armchairs are from Galerie Sylvain Lévy-Alban. For details, see Resources.

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TOOLBOX

STUART TYSON/STUDIO D

starting over—or just refining what you’ve got? these inspiring ideas and terrific products will improve any room in the house

The Litze collection of kitchen faucets by Brizo features a retro-modern design. Shown in Luxe Gold, the Articulating faucet with Industrial handle, left, measures 21.5″ h. and costs $1,062; the Bar faucet with Arc spout and Knurled handle measures 12″ h. and costs $566. Other styles, finishes, and handle options are available. brizo.com. AKDO’s Motion stone covering in Slate is $676 per roll. akdo.com

PRODUCED BY CARISHA SWANSON · TEX T BY PATRICK ROGERS

toolbox POWER UP Buster + Punch’s wall plates and light switches have a pure but distinctive design. Clockwise from top left: plug socket with USB ports in Smoked Bronze; toggle switch in Steel; dimmer in Black/Brass; and toggle switch in White/Brass. From $40 each. busterandpunch.us

IN THE BEST LIGHT The Held lighting fixture from One Illuminates projects nine inches from the wall, casting perfectly angled light on art below. The 24″ lamp, here in Brass, costs $1,085. Longer sizes—36″ and 48″—and a variety of finishes are also available. oneilluminates.com

MEDITERRANEO Smeg’s colorful Portofino range brings home the sunny hues of the Italian seaside. Equipped with a 36″ electric oven and a gas cooktop, the professionalquality range features 20 programmed cooking settings and interior lights mounted on the sides of the oven for increased visibility. It is available in Green, shown, Yellow, Red, Orange, White, and Black, as well as in a stainless steel finish, for $3,999. Hoods, sold separately, are $1,499. smegusa.com ORGANIZATIONAL MATTERS Nouveau Pin boards from Danish design studio All the Way to Paris have frames of brass or navy blue powder-coated steel and pin cloth in Rouge Noir, shown here, or Oyster Grey. They come in three sizes: 35″ l. x 24″ w., shown, costs $410; 24″ sq. is $312; and 24″ l. x 11″ w. is $240. trnk-nyc.com

96 ELLE DECOR

LIGHT FIXTURE, WALL PLATES, TILES, PIN BOARD: STUDIO D

TIME AND AGAIN Jewel wall tiles by Veneto Cerámicas evoke the nostalgic appeal of pressed-tin ceilings. The 8″ sq. porcelain tiles come in two patterns and five colorways. Styles include, clockwise from top left, Antracita Decorado, Antracita, and Gold. They cost $12 to $15 per square foot. homedepot.com

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CRAFTING LUXURY FABLED FRENCH STYLE: Fashion is fleeting but style endures. Fabled brands such as Brunschwig & Fils, Christian Liaigre, Elitis, and Pierre Frey are proof that, although they might not have invented it, the French take style seriously and will be forever associated with a sense of “chic” desired by connoisseurs around the globe.

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LIAIGRE ROBINSON CHAIR Exquisitely made of carved wood, this brushed oak side chair is rounded into a graceful, perfectly proportioned shape contrasting with the luxurious, subtly stitched leather upholstery. liaigre.com

BRUNSCHWIG & FILS Brunschwig & Fils’ Le Parnasse collection evokes the romantic spirit of French poetry. Traditional yet whimsical patterns, created with an artist’s touch, enchant and intrigue in these luxurious fabrics. brunschwig.com

MANUEL CANOVAS Manuel Canovas introduces exotic and luxurious fabrics in its celebrated palette. Signature Manuel Canovas offers the best of French design. cowtan.com Photo © Nicolas Heron

truth in decorating

THE TOP 10 BAR CABINETS

DESIGNERS MARY McDONALD AND ROBERT STILIN RAISE A TOAST TO AN ENTERTAINING ESSENTIAL THAT’S ALWAYS WELCOME AT COCKTAIL PARTIES

A well-stocked bar cabinet—with top-shelf spirits and sparkling glassware—is the hallmark of a serious host. But what of the cabinet itself? Whether it’s long and low-slung like a credenza, tall and broad like an armoire, or a small, free-standing cellarette, a well-chosen drinks cabinet is a marriage of beautiful form and functionality. Built-in features may include bottle holders, racks for glasses, and adjustable shelves. “If the cabinet doesn’t offer a work surface on top, a pull-out shelf for mixing drinks is helpful,” says Robert Stilin, an interior designer in New York City. “It’s also nice to have drawers to corral your napkins, bottle openers, and votives.” The living room is the obvious place for a bar cabinet, but it’s not the only option. “The beauty of a cabinet is that it’s discreet, like a nice piece of furniture,” says Los Angeles designer Mary McDonald. Unlike the showier bar cart, a cabinet keeps its temptations under wraps. SERPENT BAR BY BRETT BELDOCK FOR CB2

Mary McDonald: This is a cabinet that makes a statement in a living room but doesn’t have too much to say, if you know what I mean. It’s chic and versatile, and although it’s one of the less-expensive cabinets I’ve seen, it certainly doesn’t look cheap. Robert Stilin: The shape is clean and linear, but the alligator print on the inlaid brass gives it a subtle Tom Ford kind of glamour. You don’t have to use it as a bar: With an antique mirror or a pair of vintage lamps on it, it becomes a nice console for a bedroom or entry hall. 44• w. x 15.5• d. x 37• h., $999. cb2.com

BOHLEND CABINET BY CURREY & COMPANY

RS: It might be my favorite. The mix of materials—inlaid wood, brass—gives this handsome cabinet a warm glow. It would also make a great stand-up vanity for a woman’s bedroom. It has a mirror inside that’s perfect for makeup. MM: Wonderful craftsmanship—it looks good open or closed. The pretty blue felt that lines the drawers comes as a little surprise. 54• w. x 21• d. x 72• h., $10,990. curreycodealers.com

98 ELLE DECOR

TEX T BY CATHERINE HONG · PHOTOGRAPHY BY CHRISTOPHER CHURCHILL · PRODUCED BY LUCY BAMMAN

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truth in decorating

CIRCLE SMALL CABINET BY ARMANI/CASA

MM: This one is small but sexy, and the way the curved doors open in opposite directions is supercool. Since it has two separate storage areas, you could devote one side to liquor and the other side to glasses and other objects. RS: You’d never guess this little revolving end table was a bar cabinet. I love the luxurious mix of materials—the beautiful crosshatched-lacquer finish, the warm metal hardware and the leather-covered shelves inside. I wouldn’t say it’s a full bar, but it’s certainly a glamorous place to keep spirits and tumblers. 20• dia. x 25.5• h., $14,580. armanicasa.com

CORRIDOR BAR BY BDI

RS: Extremely versatile. With the glass top, stemware rack, and all that storage, it can function as a hardworking bar. Because the back is finished, you could also float it in a room when you’re throwing a party. Or put it under a great piece of art and use it as a console in your entryway. MM: The venting on the front lends a slight Asian accent. Yet you could do a room with French modern pieces, and it would blend in. I like that it also comes in white oak—a completely different, beachy look. 36• w. x 18.5• d. x 41• h., $2,199. bdiusa.com

PISCES BAR BY RESOURCE FURNITURE

RS: The oak, metal, and spare lines give this piece from Portugal the sensual feel of a minimalist sculpture. When you open the top flaps, it transforms into a tiny bar with a storage area and work surfaces— and look at the lovely inlaid fish! MM: I agree, it does look like a piece of contemporary art, with an elegant silhouette. It’s small, though—a bar for an intimate group of two or three guests at most. Still, it will get the conversation started. 16• w. x 20• d. x 46.5• h., $2,250. resourcefurniture.com

DOWNING BAR CABINET BY WEST ELM

MM: You can pack a lot into this cabinet! It’s extremely well equipped for the job, with a rack for hanging stemware, drawers for knickknacks, a wine rack, and adjustable shelves to fit bottles of all sizes. Simple and fresh—ideal for a young person’s city apartment. RS: Yes, the lines are nice and clean, the use of space is wellthought-out, and white is versatile. But it’s the price that’s unbeatable. 29• w. x 18• d. x 59• h., $1,199. westelm.com

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The opinions featured are those of ELLE DECOR ’s guest experts and do not necessarily represent those of the editors. All measurements and prices are approximate.

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truth in decorating 8

HAPPY HOUR LIQUOR CABINET BY FEYZ

RS: This is everything you need in a bar cabinet. Inside, there’s plenty of space for storage, and the top can be used as a buffet for serving. The turned brass legs are beautiful. But the standout feature is the built-in icebox: You can pour ice right into it. MM: It’s so stylish, I’d want this even if it weren’t a bar! I love the bluishgray leather and sculptural hardware, which feels so original. The legs are nice and heavy. A winner. 80• w. x 20• d. x 35• h.,$12,000. feyzstudio.com

POLLOCK DRINKS CABINET BY JULIAN CHICHESTER

MM: Both inside and out, this vellum-and-oak cabinet has a stately, old-world feel. The mirrored back panel, the pretty bottle racks, and the vintage-looking escutcheons on the inside of the folding double doors are all nice touches. RS: The combination of vellum with exposed hinges is unexpected—glamorous and utilitarian. There’s built-in lighting, and two shelves pull out for mixing drinks and serving. Plus, lots of room: The scale is generous for a bar cabinet. 51• w. x 20.5• d. x 75• h., $11,985. julianchichester.com

ISIDORO CABINET BY JEAN-MARIE MASSAUD FOR POLTRONA FRAU

MM: Paging James Bond! This leather-sheathed bar cabinet calls out for a sleek bachelor pad. The craftsmanship is superb, with lots of luxurious details, like the selfclosing drawer and silver-toned hardware. RS: This is what Richard Branson would take on a safari, although I’m not sure I’d put it in my living room. The hand-stitched saddle leather is gorgeous, and so is the finely finished wood veneer of the interior. You could show off a collection of beautiful barware in here. 29.5• w. x 20• d. x. 46• h., $8,500. poltronafrau.com

GEOMETRIC BAR GLOBE BY MJ ATELIER

RS: Love it. An amazing object to look at, from the unusual shape to the beautiful grain of the mahogany. You could mix it into any kind of interior. I’d love to place one beside a built-in bar as a kind of adjunct bar, maybe to hold a valuable collection of bourbon or some special wines. The interior is fully customizable. MM: Super chic! It’s wonderfully constructed, and I love the way the panels open up. It reminds me of an intricately carved antique toy. 24• dia. x 45• h., $9,700. mjatelier.com

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The opinions featured are those of ELLE DECOR ’s guest experts and do not necessarily represent those of the editors. All measurements and prices are approximate.

Naomi sectional, $2898; Classic cocktail table, $949; Parks end table, $449. roomandboard.com

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BORDEAUX

FAMOUS FOR ITS WINES SINCE THE MIDDLE AGES, FRANCE’S ONCE-SLEEPY SOUTHWESTERN CITY HAS EMERGED FROM TWO DECADES OF CLEVERLY PLANNED URBAN RENEWAL WITH REVITALIZED NEIGHBORHOODS, NEW MUSEUMS, AND HOT RESTAURANTS AND BOUTIQUES THAT MAKE IT A DESIGN DESTINATION SECOND ONLY TO PARIS—WITH MORE SUNSHINE. BY INGRID ABRAMOVITCH

La Cité du Vin, a museum of wine with a spiraling aluminum-and-glass facade (designed by XTU Architects) inspired by the swirling of wine in a glass. MERCHANT CLASS

WHAT’S NEW RISE AND SHINE

Maybe a town whose nickname is La Belle Endormie (“Sleeping Beauty”) just needed a power nap. Thanks to savvy urban planning, Bordeaux—a faded provincial backwater just 20 years ago—has emerged as France’s second-favorite city after

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Paris. Longtime mayor (and former French prime minister) Alain Juppé gets credit for transforming it with striking new architecture and a pedestrian-friendly urban plan. With freshly scrubbed building facades, the entire cityscape—from streets lined with 18th-century limestone townhouses to stately Haussma n n ia n squa res—look s rested and refreshed. What’s

more, a new high-speed train hurtles there from Paris in just two hours (sncf.com). TOAST OF THE TOWN

Renowned as home to some of the world’s top vineyards, Bordeaux has a 2,000-yearold wine-making tradition that goes back to Roman times. Learn the history— and sample a glass or two—at one of its newest attractions,

RADICAL TRANSIT

How to get around in Bordeaux? This compact city is eminently walkable, but if you’re in a hurry, do as the locals do: Take a tram. They carry visitors and citizens alike from the Golden Triangle—an intersection of three boulevards in the city center—to the edgy Bassins à flot district, where docks and warehouses have been reinvented with arts spaces and floating nightclubs.

CHRISTOPHE PIT

On the Garonne River, Bordeaux’s Cité du Vin museum is dedicated to the local mainstay: wine.

Just north of the historic center, fashionable Chartrons— Bordeaux’s answer to Paris’s Marais—has a village feel. Stroll along the quai des Chartrons, where elegant rows of centuries-old homes built by European wine aristocrats face the Garonne River. The heart of the neighborhood is the narrow, picturesque rue Notre-Dame, where an afternoon visiting antiques shops and galleries can be capped with a glass of locally made Lillet at Chez Dupont (chezdupont.com).

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“For a long time, Bordeaux was the best-kept secret. It’s a big city, but it feels like a village. It’s safe and beautiful, and culturally, it’s becoming more dynamic by the day. The food is wonderful and the ocean is just an hour away. That’s why so many Parisians are moving here.” ANTOINE VIGNAULT Furniture maker

WHAT to SEE Base Sous-Marine Easily the city’s most unusual attraction, this 129,000-square-foot World War II–era German U-boat pen now boasts some of the most exciting art exhibitions in town. An up-close view of the concrete docks is a sight out of a James Bond film. Bernard Magrez Cultural Institute Wine magnate Bernard Magrez is a force in the region: He owns the Château La Tour Carnet vineyard, as well as a hotel in town, La Grande Maison, with a Michelin-starred restaurant. Across the street, this private art museum features contemporary artists like Luc de Muelenaere and Mathieu Lucas.

The Miroir d’Eau— Water Mirror—in the city center.

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CAPC Musée d’Art Contemporain de Bordeaux The late interior designer Andrée Putman teamed up with architects Denis Valode and Jean Pistre to transform this former depot into a showcase for site-specific works by Richard Long, Keith Haring, and Christian Boltanski. Darwin Eco-Système A creative hub situated in a former military barracks, this vast complex houses a popular restaurant, an urban farm, a skate park, and free-expression walls for graffiti artists. Grand Théatre de Bordeaux This neoclassical performance hall— designed in the 18th century by architect Victor Louis—is among the oldest wood-frame theaters in Europe. Now home to the Opéra National de Bor-

A 1974 photo of Verner Panton fabrics from the “Oh Couleurs!” exhibition at the Musée des Arts Décoratifs et du Design.

deaux, it’s the place to see a performance below a cupola with original blue, white, and gold decorations by JeanBaptiste Claude Robin. Jardin Public Once a royal playground, this large, bucolic English-style garden has been open to the public since 1746. The lush grounds with swanfilled ponds and romantic bridges are also home to a carousel. Miroir d’Eau Landscape architect Michel Corajoud devised the striking fountain, fed by a massive underground tank. The plaza-wide pool reflects the spectacular facade of the Place de la Bourse, which was built in the 1700s during the reign of Louis XV.

Musée des Arts Décoratifs et du Design This museum’s paneled walls, grand staircase, and chandeliers re-create the ambience of life under the Ancien Régime. The period rooms are supplemented by exhibitions that chronicle the history of design up to the present day. Vieux Bordeaux The city’s medieval quarter, Saint Pierre, is now also one of its most vibrant destinations. Enter through the soaring Porte Dijeaux, a decorative gate that dates from about 1748, then stroll side streets lined with chocolatiers and fashion boutiques, and grab a cocktail at one of the chic bars found along rue du Parlement Saint-Pierre.

BASE SOUS-MARINE: LUDOVIC MAISANT; EXHIBITION: COURTESY OF MUSÉE DES ARTS DÉCORATIFS ET DU DESIGN

A former German submarine base has resurfaced as an arts center.

BEST BUYS Bordeaux has top-notch brocanteurs—secondhand dealers of furniture, fashion, and ephemera—whose prices are below their Parisian counterparts. You’ll find them at the market around the Passage Saint-Michel. Several dealers have a permanent home in the Village Notre Dame (61– 67 rue Notre-Dame). Among them: L’Oeil de Marianna, who offers Arne Jacobsen lighting and Bruno Gambone ceramics, and Sylvie Fourrel de Frettes, for 18th- and 19th-century gilded consoles and Napoleon III chairs.

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WHERE to EAT Belle Campagne, 15 rue des Bahutiers, bellecampagne.fr: With its flea-market decor and townhouse setting, this cozy Saint Pierre restaurant feels like a private home. The strictly locavore menu is in Gascon, a dialect of the region, and features charcuterie, seafood, and the restaurant’s signature duck-fat French fries.

calf’s liver, and sole meunière. Garopapilles, 62 rue Abbé de l’Épée, garopapilles .com: The rustic minimalism of this 20-seat restaurant, which overlooks a courtyard planted with aromatic herbs, helps to underline the understated cuisine of its buzzedabout chef, Tanguy Laviale.

Brasserie Le Noailles, 12 allées de Tourny, lenoailles.fr: For a movie set–worthy brasserie with red velvet booths, white tablecloths, and cementtile floors, head to this local favorite founded in 1932. The menu offers such classics as sauerkraut,

Belle Campagne restaurant.

“Bordeaux has changed in the last 20 years, with a new emphasis on quality architecture and an urban plan that reserves half of all public space for pedestrians and bikes. We’ve been declared a modern UNESCO World Heritage Site. That said, the things that make the city so beautiful—its location on the Garonne River, the trove of 18th-century architecture—have been here all along.” MICHÈLE LARUË-CHARLUS Bordeaux’s director general of urban planning and organizer of the Agora design biennale

A wineshop in front stocks a unique selection of Bordeaux wines. Le 7 Restaurant, 4 quai de Bacalan, le7restaurant .com: On the seventh floor of La Cité du Vin, this gourmet restaurant offers panoramic views of the Garonne River and historic Bordeaux. Order a cheese platter from local purveyor Jean d’Alos and pair it with one of more than 30 wines served by the glass. Le Quatrième Mur, 2 place de la Comédie, quatrieme-mur.com: Bordeaux’s star chef Philippe Etchebest commands the kitchen of this lively brasserie in one of the city’s most spectacular venues, an opulent, crystal chandelier–lit space adjacent to the neoclassical opera house. Restaurant Côté Rue, 14 rue Paul Louis Lande, cote-rue-bordeaux.fr: An open kitchen and eye-catching abstract art contrast with the 18thcentury architecture in this stylish outpost of newwave Bordeaux cuisine. A seven-course tasting menu features dishes as artfully composed as the setting.

SWEET DREAMS For centuries, the canelé—a petite pastry with a rich, custardy, rum-flavored interior surrounded by a dark, caramelized shell— has been a Bordelais favorite. The fluted treats are displayed like jewels in red-lacquer cases at Baillardran (baillardran.com), a chain of bakeries, and come in three sizes at La Toque Cuivrée (la-toque-cuivree.fr), another local chain. Meanwhile, an upstart treat has taken the city by storm: decadent pastry puffs filled with cream and dusted with sugar, from Dunes Blanches (7 rue de la Vieille Tour).

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Le Pressoir d’Argent restaurant at the InterContinental Le Grand Hotel.

CÔTÉ RUE: LUDOVIC MAISANT; BELLE CAMPAGNE: JEROME GALLAND; LE PRESSOIR D’ARGENT: JULIEN FAURE, COURTESY OF LE PRESSOIR D’ARGENT

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WHERE to STAY

Sitting room of the Yndo Hotel.

WORTH A DETOUR In 1990, Daniel and Florence Cathiard bought Château Smith Haut Lafitte, a vineyard 20 minutes south of the city, and built their label into one of Bordeaux’s best. They offer tours of the stylishly renovated winery, with its 16th-century tower and 1,000-barrel cellar (smith-haut-lafitte .com). Their daughter Mathilde, meanwhile, operates the property’s spa, Les Laboratoires Caudalie, which uses antioxidant-rich grape seeds in its beauty treatments; a second daughter, Alice, runs the property’s chic hotels and restaurants (sources-caudalie.com).

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WHERE to SHOP Cabanes et Châteaux, 74 rue Notre-Dame: This home-decor boutique is the ultimate high-low mashup, combining cabin chic with the formality of a château. For sale: everything from an 18th-century marble-and-gilt console to Le Corbusier’s favorite lighting by Lampe Gras. Garance Interior Design, 44 allées de Tourny, id-garance.com: Vintage Jean Royère Polar Bear chairs and lighting by Hervé van der Straeten are part of the sophisticated edit of European design at this by-appointment showroom. Owners Marc Dauberte and Pierre Bîme are go-to decorators for modern lofts and castles in nearby wine country.

Kauffmann Sculpteur, 126 quai des Chartrons, kauffmann-sculpteur.com: Sculptor Pierre Kauffmann’s studio is a picturesque jumble of marble busts—from Molière to Thomas Jefferson. L’Intendant, 2 allées de Tourny, intendant.com: A Jean Dubuffet painting of a glass of water greets visitors to this striking wineshop, where some 15,000 bottles of Bordeaux— ranging from $5 bargains to $15,000 rarities—are arranged along the walls of a five-story circular tower. Librairie Mollat, 15 rue Vital-Carles, mollat.com: Occupying nearly an entire city block, this 1896 bookstore is in the former home of writer and philosopher Montesquieu. Be sure to check out the shop’s Instagram account,

Hotel de Tourny, 16 rue Huguerie, hoteldetourny .com: A pair of 18thcentury townhouses just outside Vieux Bordeaux has been transformed into a cozy hotel with a midcentury vibe, with wood-paneled walls and Hans Wegner chairs. InterContinental Bordeaux Le Grand Hotel, 2–5 place de la Comédie, bordeaux .intercontinental.com: With 130 rooms lavishly decorated by Jacques Garcia, this hotel occupies a 1789 neoclassical mansion with a columned facade that mirrors the opera house across the street. In-house: a luxurious spa, complete with a double-height Roman bath, and Gordon Ramsay’s Michelin-starred Le Pressoir d’Argent, home to a spectacular sterling silver lobster press. La Co(o)rniche, 46 avenue Louis Gaume, Pyla-surMer, lacoorniche-pyla .com: Framed by pine forests and the Atlantic Ocean, the Arcachon Bay—

just an hour’s drive from the city center—is a popular weekend seaside destination. Set in a renovated 1930s neo-Basque hunting lodge, this boutique hotel designed by Philippe Starck has an infinity pool and a view of Europe’s tallest sand dune. Mama Shelter Bordeaux, 19 rue Poquelin Moliere, mamashelter.com/en/ bordeaux: Bordeaux’s first modernist building— the 1930s Gas Tower—is now a hip and affordable 97-room mansion, also designed by Starck. Don’t miss the rooftop bar for a panoramic view of the city. Yndo Hotel, 108 rue Abbé de l’Épée, yndohotel bordeaux.fr: This intimate hotel in a former 19thcentury hôtel particulier is a passion project for its owner, Agnès Guiot du Doignon. She has filled its 12 guest rooms and grand salons with a who’s who of contemporary design— from Hubert le Gall to the Campana brothers. She also personally makes the small-batch jams served with the included continental breakfast.

@librairie_mollat, in which staff and customers pose behind book covers. Lily Blake, 68 rue NotreDame, lilyblake.fr: A wall of hand-painted chinoiserie wallpaper and a checkerboard floor welcome shoppers at this charming dress and accessories shop in Chartrons. Julia Mottram, a former fashion edi-

tor, stocks an affordable mix of English and Scandinavian fashions. Murmürs, 5 rue Louis Combes, facebook.com/ murmurs.fr: This two-story home-design shop offers an array of French-made products, such as pillows by La Cerise sur le Gateau and chic brooms and feather dusters.

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YNDO HOTEL: PIERRE CARTON, COURTESY OF YNDO HOTEL; GARANCE INTERIOR DESIGN: ARTHUR PEQUIN, COURTESY OF GARANCE

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daniel’s dish Braised for hours and then left to rest, a beef-andvegetable stew develops deep flavor.

TOUR DE FRANCE

French chefs are among the most sophisticated in the world. But when the weekend arrives and they’re at home with family and friends, they turn to simple, soulful cooking: Timeless recipes are the order of the day. I asked three of my good friends, who also happen to be prominent chefs in different regions of France, to share dishes they make at home. Each highlights the distinctive flavors of his region. Édouard Loubet, who was born in the Alps and moved to Provence, where he runs his Michelin two-star restaurant La Bastide de Capelongue, chose hearty PHOTOGRAPHY BY K ATRÍN BJÖRK · ST YLED BY CATHERINE LEE DAVIS

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daube de joue de beouf—braised beef cheeks—seasoned with herbs. Twenty years ago, Yves Camdeborde revolutionized the Parisian bistro by serving spectacular food in a casual way. Yves’s approach to cooking—including this salad of salted cod and aged Comté cheese—draws on the influences of the Basque Country. Finally, fraisier is a strawberry cake found in most pastry shops, but Sébastien Bouillet of Lyon deconstructs the dessert and serves it in a glass. It’s the perfect ending to a meal that captures the best of France.

FOOD PREPARATION BY MARY KIRK GOELDNER

WHAT DO FRANCE’S MOST ADMIRED CHEFS COOK WHEN THEY’RE OFF DUTY? A TRIO OF FOOD STARS FROM AROUND THE COUNTRY SHARE INSPIRED TAKES ON CLASSIC HOME CUISINE. BY DANIEL BOULUD

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daniel’s dish Milk-poached cod brings a hint of salt and sea. The tablecloth and napkin are by Heather Taylor Home, the plate is by Revol, and the fork is from Williams Sonoma. For details, see Resources.

Édouard Loubet la bastide de capelongue, bonnieux ///

“This recipe is the essence of Provençal cooking, with classic ingredients like bay leaves and rosemary—and, of course, red wine. I like to serve it for lunch or dinner with a crisp salad and a pasta gratin. It’s easy to prepare ahead and reheat.” BEEF CHEEK DAUBE À LA PROVENÇAL Serves 6 to 8 3

lbs. beef cheeks, cut into quarters

lamb shank

carrots, coarsely chopped

onions, coarsely chopped

bay leaves

sprigs savory or marjoram

sprig rosemary

green cardamom pods

green Sichuan peppercorns

juniper berries

cups red wine

T olive oil Salt and freshly ground black pepper

T flour

lb. peewee potatoes

In a large bowl, combine the beef, lamb, carrots, onions, herbs, and spices; mari nate in the red wine for 24 hours. Drain the liquid and reserve. In a large Dutch oven over medium heat, warm the olive oil. Season the meat with salt and pep per, and sear for 5 to 8 minutes. Add the vegetable mixture and sauté for 4 min utes. Stir in the flour and cook for 3 min utes, then add the reserved marinade and 4 cups of water. Reduce heat to low and cook for 4 hours. Remove from heat and set aside for at least 45 minutes. Bring 3 quarts of salted water to a boil. Add the potatoes and reduce to a sim mer. Cook for 10 minutes or until tender. Add potatoes to the stew, reheat, season, and serve.

114 ELLE DECOR

What to drink

“A classic wine of Provence, Château Simone’s Palette Rouge 2012 [$43] is a field blend with Grenache and Mour vèdre grapes, but also some Syrah, Cin sault, and Carignan,” says Raj Vaidya, head sommelier of Daniel restaurant. “Spicy and rich, with tannins and fresh ness, it balances the stew’s lamb and beef, plus the spice of the peppercorns and juniper.”

traditionally Portuguese, and as inhab itants of Portugal have migrated over the French border, the fish has become a staple of our southwestern cuisine. In this salad, the saltiness of the cod and the tang of the cheese bring a welcome punch. Since cod preserves so well, this can be served all year long.” SALAD WITH SALTED COD, COMTÉ CHEESE, AND RADISHES Serves 6 10 oz. salted cod, rinsed 2

cups milk

hearts of romaine lettuce

20 radishes, thinly sliced

Yves Camdeborde le comptoir, paris ///

“Cod is a signature dish of the Basque Country. Of course, all cod dishes are

chives, cut into 1-inch lengths

oz. Comté cheese, shaved

T red wine vinegar

tsp. mustard

2 T olive oil Salt and freshly ground white pepper

Soak the cod in cold water for 24 hours, changing the water several times to remove the salt. In a saucepan, warm the

daniel’s dish milk over medium heat until it reaches a low simmer. Add the cod and cook for 2 to 3 minutes, then let cool in the milk. Wash and separate the leaves of romaine, cutting the large pieces into two. Toss with the radishes, chives, and shaved Comté. In a small bowl, combine the red wine vinegar, mustard, and olive oil, and season with salt. Pour over the salad and flake the drained cod over the top. Serve with freshly ground white pepper. What to drink

“Jurançon whites, such as Domaine Cauhapé Jurançon Sec Chant des Vignes 2015 [$15], are blends of Gros Manseng and Camaralet that offer lovely citrus aromas and flavors, as well as a mineral salinity that matches the salted cod,” says Vaidya. “A touch of honey plays beautifully off the mustard.”

STRAWBERRY PARFAITS Makes 6 parfaits 3⁄4

cup milk

1⁄2

vanilla bean, scraped

5 1⁄2

Sébastien Bouillet pâtisserie bouillet, lyon ///

“We’ve always served fraisier parfait at our patisserie, but it has evolved over time. It’s light, fresh, and sophisticated— the freshness of the strawberries, the sweetness of cream, the softness of the cake, and the luxurious taste of almond paste make a perfect combination. I often make it with my children, who love berries, and we eat it as a family.”

Strawberries, cake, and cream combine to make a dessert both delicate and indulgent.

T butter, room temperature cup plus 3 T sugar T flour

2 egg yolks 2⁄3

1 1

cup water T kirsch loaf vanilla pound cake Half of a 7 oz. package of almond paste

lb. strawberries, trimmed

Make the crème mousseline

In a saucepan, heat the milk, vanilla seeds, and half of the butter, until the butter is melted. In a bowl, add 3 T sugar, the flour, and egg yolks, and whisk in ¼ of the milk mixture, then pour back into the saucepan. Bring to a boil, whisking, and cook for 1 minute. Transfer to a shallow dish and apply plastic wrap directly onto the mixture. Let cool. Transfer to a bowl and blend in the remaining butter. Chill. Make the syrup

In a small saucepan, combine the water, ½ cup sugar, and kirsch, and bring to a boil. Cook for 3 minutes and chill. Assemble the parfaits

Cut the pound cake into one-inch-thick slices and punch out 12 circles using a rocks glass. Roll the almond paste into a thin layer and cut 6 circles with the glass; set aside. Push 1 disk of pound cake down into each glass and spoon 1 T of the syrup over the top. Line the sides with halved strawberries, pressing them against the glass. Spoon ¼ cup crème mousseline into each glass. Arrange 4 or 5 strawberry halves in the center and top with mousseline, covering the berries. Add a second disk of pound cake to each glass and spoon on 2 T syrup. Top with the almond paste disk and garnish with powdered sugar and thinly sliced strawberries. What to drink

“In Beaujolais, Jean-Paul Brun makes an off-dry sparkling rosé, Terres Dorées FRV100 NV [$17]. It’s a fruit-forward expression of the area’s granite soil, plush with strawberry and a bit of cherry, and perfect with dessert,” says Vaidya. ◾ 116 ELLE DECOR

FOR MORE DANIEL BOULUD RECIPES, GO TO ELLEDECOR.COM/DANIEL

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PAMELA COOK/STUDIO D; FABRIC BY TASSINARI & CHATEL. FOR DETAILS, SEE RESOURCES

MADE in FR ANCE WITH ITS CENTURIES-OLD REPUTATION AS THE WORLD’S FOREMOST PURVEYOR OF FINELY CRAFTED FURNITURE, SUMPTUOUS FABRICS, AND TRENDSETTING DECORATIVE ARTS, FRANCE HAS LONG BEEN A DESTINATION FOR EXQUISITE CUSTOM DESIGN. FROM WEAVERS IN LYON WHO CREATE SHIMMERING SILKS ON ANTIQUE LOOMS TO LEATHERWORKERS AT HERMÈS WHO CRAFT BESPOKE INTERIORS FOR YACHTS TO JEWELERS WHO FUSE TRADITIONAL TECHNIQUES WITH A DAZZLINGLY MODERN SENSIBILITY, THE ART OF THE HANDMADE IS FLOURISHING.

TEX T BY TIM McKEOUGH PRODUCED BY LUCY BAMMAN, CATHERINE LEE DAVIS, CYNTHIA FRANK, SABINE ROTHMAN, AND DAYLE WOOD 119

made in france FROM TOP: Tassinari & Chatel Salon des Jardins warp-printed silk taffeta, designed in 1835, was used at the Grand Trianon. La Favorite Louis XV–style silk lampas. Royal Danceny silk drugget.

Silk Dreams

Thanks to its riding saddles and handbags, Hermès leather goods are already the stuff of legend. But known only to a lucky few is Hermès SurMesure, the company’s anything-is-possible department for custom projects, where Axel de Beaufort is the director of design and engineering. “We have 20 craftsmen working on bespoke projects in our Parisian workshops, and most of them have

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been with Hermès for more than 20 years,” says de Beaufort, who ran his own awardwinning yacht-design company before joining Hermès in 2012. “Every project is a new story we write with our client to offer a singular vision that goes beyond mere decoration.” The Sur-Mesure team relies on that deep experience to produce ultra-luxe boxing gloves, skateboards, leatherpaneled rooms, and one-off whimsical creations like a rickshaw. Much of its focus is on luxury vehicles of all types. The workshop has created complete cabin interiors, including window shades, sofas, chairs, tables, and carpets for private Airbus A319 and Gulfstream G650 jets, as well as for a 140-foot sailing yacht and a VanDutch 55 motor yacht. “We reinterpret these things and give them an Hermès atmosphere,” says de Beaufort, “and we work with the same quality of fabric and leather know-how that you find in our stores.”

HERMÈS: PASCAL CHEVALLIER; TASSINARI & CHATEL: PAMELA COOK/STUDIO D

Private Stock

Axel de Beaufort in the Hermès Sur-Mesure workroom in Paris.

The city of Lyon has been the center of the French silkweaving industry for centuries, and Tassinari & Chatel has been a first among peers since 1680. “Very early on, we were supplying the finest fabrics for the royal families of Europe— France, Spain, Denmark, Britain, and Germany,” says Emmanuel Lelièvre, the managing director of Tassinari & Chatel’s parent company. This tradition has continued into the 21st century; today, Tassinari fabrics can even be found in the Oval Office. While some production has moved to facilities outside the city, the company’s oldest hand-operated looms are still in Lyon producing precious fabrics, including silk woven with gold thread. Its extraordinary archive holds some 100,000 fabrics going back 300 years, all just waiting to inspire designers anew.

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made in france Charlotte Dauphin de la Rochefoucauld at her by-appointment showroom in Paris. BELOW: Pavé-diamond cuffs from her Serpentine collection in white and blue gold.

Charlotte Dauphin de la Rochefoucauld founded her namesake company, Dauphin, three-and-a-half years ago after graduating from London’s Courtauld Institute of Art. But her sinuous, stringlike cuffs and diamond-and-gold necklaces that wrap the neck in a delicate cage have already helped establish her as a powerful new voice in contemporary jewelry design. De la Rochefoucauld says she is

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inspired by groundbreaking modernist designers like Charlotte Perriand and Jean Prouvé more than other jewelers. “I have a total outsider perspective, which is essential to my vision,” she says. Among a number of provocative experiments, she has developed a technique for turning white gold into the color of dark blue ink, a hue she associates with poetry, mystery, and melancholy.

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Antoinette white gold, pink sapphire, diamond, and pearl earrings by Chanel Fine Jewelry.

Jewel in the Crown

A workroom in the School of Jewelry Arts.

Class Act At l’École, Paris’s School of Jewelry Arts, students learn the rudiments of making fine jewelry—how to select precious stones, draw designs, sculpt wax models, and set and polish gems. “Our pur-

pose is to show what it takes to create such graceful objects,” says the school’s president, Marie Vallanet-Delhom. “It’s a beautiful adventure.” It surely is—and a challenging one. This past spring, I

attended classes in design and gem setting. Donning a white coat, I sat at a workbench arrayed with toothpick-size drill bits, a jigsaw, linguineslim rasps, and a magnifying visor. Before me was a delicate beeswax butterfly, halffinished by an artisan. The task: to make the other wing match perfectly. I sanded the edges—gingerly, because wax breaks easily—and handdrilled BB-size holes to hold tiny gems. “Symmetry is the hardest,” said my instructor, Caroline. “Nothing in nature is sym metrica l, but we demand it in jewelry.” Another task involved sawing a straight line through a skinny slab of silver. It

Summer Beetle white gold, opal, sapphire, tourmaline, beryl, and diamond brooch by Lorenz Bäumer.

sounded easy, but it wasn’t. My cut ran wobbly and rough, until my blade snapped in two. Caroline laughed: “That’s why we order the blades in bulk.” When the course ended—too soon—I found myself looking at the bijous on display in the shop windows with new respect. Madame VallanetDelhom was right: It is a beautiful adventure. DANA THOMAS

PLACE VENDÔME: SHUTTERSTOCK

Fleur Bleue ring of white gold, sapphire, diamond, emerald, and tourmaline by Van Cleef & Arpels.

Built on the order of Louis XIV, Place Vendôme, in the center of Paris, was created to celebrate glory on the battlefield. Although the victories proved fleeting, the city square itself—an emerald-cut marvel of urban design—shines just as brightly today as the home of many of the world’s greatest jewelers: Cartier, Boucheron, Chanel, Lorenz Bäumer, and Van Cleef & Arpels (which also supports a jewelry-making school; see below). Behind the tall Baroque facades, jewelry designers and stone setters, many of whom spend their entire careers perfecting the style of a single legendary house, create adornments of stunning invention and beauty.

Practicing the art of enameling on gold. 124 ELLE DECOR

FA B R I C C O L L E C T I O N 2 017

Returning to her roots Bernie de Le Cuona travels the world working with the finest artisans, best spinners and specialist mills to create new style staples that give her linen classics a rakish twist.

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PORTRAIT: PASCAL CHEVALLIER; CHAISE LONGUE: HERVÉ TERNISIEN; STAIRCASE: PHILIPPE CAUMES; TABLE: HERVÉ GOLUZA; BUREAU I.O. DESK: INDUSTRIAL ORCHESTRA; MISTER S DESK: THOMAS DUVAL

Rinck designers Thierry, left, and Valentin Goux.

Founded in 1841, Rinck furniture makers played a lead role in the popularity of Art Nouveau and Art Deco furniture and decor, its exacting standards passing from father to son over several generations. Today, Rinck designs and manufactures reproduction 18th-century paneling, state-of-the-art fittings for trendsetting boutiques, and curvaceous one-of-a-kind furniture for Christian Liaigre and Tony Chi. “We do veneer, marquetry, shagreen, parchment, tortoiseshell, lacquer—all in-house,” says president Thierry Goux, whose son Valentin manages the company’s business development in the U.S. (when not overseeing his fashion brands, La Garçonnière and Monsieur London). “Our range runs from historic to contemporary, even futurist.” In other words, Rinck can deliver almost any form and finish a client might desire.

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BELOW, FROM LEFT: Cogolin Labyrinthe carpet; Les Cantres Jardin 5, designed by India Mahdavi; Les Cantres Levant.

Woven on jacquard looms, Cogolin carpets are known for dramatically contrasting textures.

Wool and cotton yarns are hand-tied before weaving. Ponant wool carpet with raffia.

Made to Measure

A loom at Cogolin’s factory near Saint-Tropez.

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In the 1920s, Manufacture Cogolin introduced a new kind of rug—one created on specially modified hand-operated jacquard looms that had previously been used to weave silk fabric. The results were deeply textured carpets with almost sculptural relief, woven in cotton and wool, jute, or linen, which the world’s most celebrated designers—including Jean-Michel Frank, Jules Leleu, and David Hicks—exploited to stunning effect. Cogolin continues to use exactly the same looms and techniques today. “We’re still working with mechanisms from the 1880s,

like something you would have seen 150 years ago. But it’s not a museum,” says managing director Sarah Henry. Since being acquired by House of Tai Ping in 2010, the company has experienced a rebirth, introducing innovative new collections with designers India Mahdavi, Elliott Barnes, and Jason Miller. These rugs are woven in 27-inch-wide panels that can be sewn together to create an infinite range of sizes, and the company’s patterns can be customized in almost any way. “You choose the size, colors, pile height, and materials,” says Henry. “It’s a little bit crazy, but you make the carpet your own.”

PAMELA COOK/STUDIO D (2)

A weaver at work.

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LEFT: Atelier MériguetCarrère’s Floral Luxembourg textured and painted leather. BELOW, FROM TOP: A team works on trompe l’oeil panels with a dragon motif for a New York restaurant. Eden leather in a matte mother-of-pearl finish.

Gilt Edge

With a team of 100 artisans in Paris, Atelier Mériguet-Carrère offers masterful decorative painting, gilding, and roomdefining textural leather paneling. For the latter, the 57-year-old firm embosses and paints custom leathers to give walls and screens of both traditional and modern design an impressively tactile appeal. Mériguet-Carrère has brought its dazzling range of trompe l’oeil finishes on wood and stone and its heavenly murals to projects that include the restorations of the Paris Opera and the Élysée Palace, as well as to homes designed by Jacques Grange for Yves Saint Laurent and Pierre Bergé. When working with contemporary designers, “we try to be innovative, and to build their projects with them,” says manager Charles Durant des Aulnois, for creations with the perfect finishing touch.

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Hervé Van der Straeten at his workshop in Bagnolet.

Master Touch

FROM LEFT:

Declercq’s Yoshiwara two-tassel and Bilboquet tiebacks.

Hervé Van der Straeten’s sculptural furniture is daringly original and exquisitely made, the by-product of his early years spent as a painter at Paris’s École des Beaux-Arts and then as a jewelry designer. “If you look at my work, there’s always a sense of movement. It grows out of the big, gestural, abstract paintings I used to do,” he says. At his workshop on the outskirts of Paris, he is the master of every aspect of design and production, from pencil sketch to final polish, creating bronze lamps so organic in shape that they appear to be stolen from nature and armoires finished with overlapping end-grain wood from vastly different trees. “It’s a combination,” he says, “of total creative freedom balanced with extreme precision in manufacturing.”

Sculptural details of bronze works in progress.

Lamps take shape on the workbench.

A sweeping handrail for a villa designed by architects Guilhem & Guilhem.

Heavy Metal

Pagode brass light fixture by Sybille de Margerie for Pouenat.

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Founded in 1880 by blacksmiths who forged wrought-iron gates, fences, and banisters, Pouenat has expanded its focus considerably over the course of the past century-and-a-half: “We can make almost anything in metal, with or without other materials, including crystal, porcelain, stone, wood, leather, and fabric,” says Delbert Bruns, who represents the company in the U.S. Its production includes collections by contemporary French talents in addition to such custom pieces as a circular bronze-and-glass coffee table for Jean-Louis Deniot, a polished-brass kitchen island for Joseph Dirand, and a leafy silver chandelier for Sybille de Margerie. Whether producing fine furniture or decorative banisters and gates, says Bruns, “everything is still done by hand, in our workshops in Moulins.”

Since 1852, the family-owned Declercq passementerie house has created fine tassels, braids, rosettes, and other decorative flourishes from top-quality materials. “Eighty percent of what we make is still done by hand using traditional methods,” says Jérôme Declercq, the sixth-generation owner, who is preparing his daughter to continue the tradition. “The hand gives you better, deeper detail. When a gimp or a rope is made by machine, it’s not as strong, and the design is not as strict.” Declercq’s elaborate embellishments can be found at the Château de Fontainebleau and the Frick Collection in New York, as well as in contemporary homes. “If our customer wants something exceptional, we can do it. But if someone wants a simple rope with two tassels, we do that with the same attention,” says Declercq. “We love to make incredible things.”

HERVÉ VAN DER STRAETEN PORTRAIT: CECIL MATHIEU; DETAILS: PASCAL CHEVALLIER (2); DECLERCQ: PAMELA COOK/STUDIO D

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Prométhée tiled mural at the Paris home of designer Juan Pablo Molyneux based on an 18thcentury engraving. A scene during the installation. Another wall depicts the Château de Marly.

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Earth and Fire

Atelier Prométhée began making terra-cotta statues, urns, and tiles from 17th- and 18th-century molds for homes and gardens in 1995, soon drawing the attention of top-tier museums and designers, including Peter Pennoyer and Timothy Corrigan. Out of necessity, the company has since broadened its horizons: “Our customers started to ask for other things, and we always wanted to say yes,” explains cofounder Benoît Ruffenach. Those requests have led to hand-painted faience tiles for wallspanning murals at the home of Juan Pablo Molyneux, reproduction sculptures made of resin and marble powder for Versailles, and carved marble fountains. With the addition of digital modeling to the ceramist’s traditional tool kit, the sky’s the limit for the artisans of Prométhée.

ABOVE: The

tiles are hand-painted.

CLOCKWISE FROM FAR LEFT:

Mediterraneane terra-cotta tile. Iznik tile. Mediterraneane manganese tile. A pair of Renaissance tiles.

BOTTOM RIGHT: PAMELA COOK/STUDIO D

FROM TOP: An Atelier

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made in france Past and Future

Prelle’s Kérylos, a silk-cotton designed in the 1930s.

Furry, a cotton-silk taffeta.

Giustinia, a silkcotton based on a 1750 original.

Museum—for faithfully reproduced historic fabrics. The latest partner was Boston’s Isabella Stewart Gardner Museum, which tapped the company to assist in restoring its burgundy-hued Raphael Room. Prelle worked with the museum’s conservator to develop custom-made silk replacements in nearly a dozen shades of dusky red. The same attention to detail is used just as frequently to

Lost Art

An array of Lison de Caunes’s contemporary straw marquetry.

Lison de Caunes at her Paris studio.

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realize the dreams of private clients. “When they come to us with a pattern, we can weave it with the same high quality but with very contemporary results,” says Terry Wendell, head of Prelle’s U.S. operations. Indeed, the company’s recent collaborative projects have included fabric for specialedition Adidas tennis shoes for the French Open and haute couture for the Maison Schiaparelli fashion house.

As the granddaughter of Art Deco designer André Groult, Lison de Caunes was born into a tradition of finely crafted furniture and grew up surrounded by luxurious materials. But she deemed straw marquetry—a technique developed in the 17th century for applying dyed straw in intricate patterns on decorative surfaces—the most magical. After becoming a restorer of such work, she grew determined to create her own designs. “There are the very specific patterns from the Art Deco period, like the fan and the sunburst,” says de Caunes. “I’m trying to do other, more modern things.” De Caunes makes furniture, objects, wall panels, and doors using a process that involves dyeing straw in electric colors before cutting and applying it by hand. It’s so labor-intensive that it can take months to complete a single piece of furniture, but the outcome, whether traditional or modern in style, is worth it. “I give straw marquetry a new life,” she says. Straw from Burgundy is dried, dyed, flattened, and trimmed.

PRELLE: PAMELA COOK/STUDIO D ; LISON DE CAUNES: PASCAL CHEVALLIER

A broché handwoven on antique looms with 32 colors of silk chenille and organza yarns; one-of-a-kind upholstery fabrics for designers like Peter Marino and Tony Ingrao; bolts of cloth 63 inches wide with a single repeat woven on 21st-century digital looms: All are offerings from Prelle, founded in Lyon in 1752. With a marriage of centuries-old and up-to-the-minute know-how, it’s no wonder Prelle is the answer when the need arises among top designers and institutions—from New York’s Metropolitan Museum of Art to Saint Petersburg’s Hermitage

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Bathroom of a house in Vienna inspired by the Turkish boudoir of the Hôtel de Beauharnais in Paris.

Walls of Wonder

A maker and dealer of lavishly intricate boiserie, Féau & Cie specializes in carved woodwork and parquet floors of another order. “Ninety-five percent of our work is making new wood-paneled rooms from classic references,” says owner Guillaume Féau. Designers like Robert Couturier and Michael S. Smith “love to come here to use our inventory as a library” when dreaming up new patterns, he says. And what a library: Féau & Cie’s storerooms hold the complete paneling of more than 200 antique rooms by Napoleonic architects Charles Percier and Pierre François Léonard Fontaine, Art Deco masters such as Émile-Jacques Ruhlmann, and many more, along with thousands of architectural fragments. “We have all this detail and documentation,” says Féau, “so we can create a room in exactly the right spirit.”

Régence-style oak panels in the Féau & Cie collection.

An apartment in Monaco inspired by Émile-Jacques Ruhlmann.

An Empire-style frieze installed in a home in Belgium.

Etruscan-style boiserie by Percier and Fontaine. 138 ELLE DECOR

Detail of an oak parquet floor.

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CLOCKWISE FROM TOP RIGHT: Le Manach’s Tombouctou,

Beautiful Secrets

Le Manach’s Toiles de Tours collection has offered easy customization since the 1920s, with 110 patterns that can be produced in combinations of more than 220 colors and in a choice of three textures. But while it was previously difficult to envision what some of those combinations might look like, Pierre Frey, which acquired Le Manach in 2013, has launched an online tool that allows anyone to create his or her own color way. “We can custom make your pattern, with your texture and colors, in less than a month,” says Pierre Frey, the company’s communications director and a grandson of its founder. And how are they made? “That’s our little secret, invented almost a hundred years ago,” he says. ◾

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PAMELA COOK/STUDIO D

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In the living room of the 16th-century Provençal weekend home of interior designer François Catroux and his wife, Betty, the oak center table is 18th-century English, the 1940s leather chairs are by André Arbus, and the tripod side table and pendant were designed by Catroux; the curtains are of a Bernard Thorp cotton, the papier-mâché donkey is from Blackman Cruz, and the lion sculpture on the mantel is from the 17th century. For details, see Resources.

TEX T BY DANA THOMAS PHOTOGRAPHY BY PASCAL CHEVALLIER PRODUCED BY CYNTHIA FRANK

scapes are essential—to repair, rejuvenate, or simply relax. For French designer François Catroux and his wife of 50 years, former Yves Saint Laurent muse Betty Catroux, those moments come on weekends from Easter to late October at Les Ramades, their 16th-century stone house outside of Lourmarin, a village in Provence’s Luberon region. François leaves his latest projects—such as Barry Diller and Diane von Furstenberg’s estate in Connecticut or Princess Marie-Chantal of Greece’s townhouse on Manhattan’s Upper East Side—at his Paris office, jumps on a high-speed train with Betty, and heads south for a couple of days of “complete farniente,” as he puts it. “I drink rosé and gaze at the beauty,” Betty says. And François? “I dream.” It’s easy to see why. Set on 10 acres—half of which is a traditional Provençal garden, with a pool where Betty swims and a tennis court where the couple’s grown children and grandchildren play—Les Ramades is as romantic as it is restful. François bought it in 1990, when it was a ruin with dirt floors, from three old French sisters whose greatest contribution to it was the addition of two somewhat modern bathrooms. “Given that my métier

The back of the house is bordered by cypress, ivy, and laurel; the three layers of tiles, or génoises, along the eaves were a sign of wealth when the house was built.

144

Betty and François Catroux.

is designing homes, it didn’t interest me to buy something already done,” he explains. The house, he says, is “not a farm and not a manor, but rather something particular to the south of France.” Over the years, he’s heard that it was once a convent, and also that it belonged to a wealthy family—as evidenced by the multiple layers of génoises, red tile eaves. “A normal person would have one layer, a wealthy person two,” he says. “Ours has three, so we assume it belonged to someone important.” What charmed François most about the architecture of Les Ramades were the vaulted ceilings and the interior courtyard. “Lourmarin was in the center of the war between Protestants and Catholics,” he points out. “Everything was fortified and had central courtyards where the residents could protect themselves.” The inner courtyard also recalls the traditional riad-style homes of French-colonial Algeria, where François grew up as the son of “grand bourgeois” landowners and was the schoolmate of couturier Yves Saint Laurent. It was Betty who brought them back together as adults. “I met both more or less at the same time in nightclubs,” she says. “My life is a fairy tale because of them.” The trio’s friendship remained tight until Saint Laurent’s death in 2008. The decor François does for his clients could be called high 1970s decadence, heavy with important art and rich materials, but here he has kept things light and casual. The palette is stone gray and garden green, linking the interiors to the nature outside. He put down a local flooring, called calade, made of river stones embedded in smooth cement. “If you squint, it’s like a Moroccan rug that travels through the house,” he explains in his monograph, François Catroux, published last year by Rizzoli. There are a few monumental pieces, such as the polyhedron pendant in the living room, which he designed and had made out of oak, and a pair of exotic wood screens, which he first spotted decorating the windows of the Cerruti boutique on the Place de la Madeleine in Paris and negotiated to buy. Otherwise,

Catroux designed the libraryâ&#x20AC;&#x2122;s sofa and chairs, which are upholstered in a Bernard Thorp fabric, as well as the bookcase, which is flanked by artworks by Henri Matisse. For details, see Resources.

Potted herbs, pittosporum, and box topiaries fill the interior courtyard.

The couple escape to Provence for “complete farniente,” says François. A straw wall hanging of an Alexander Calder design serves as a rug in the kitchen; the traditional Provençal floor consists of stones set into cement.

On the terrace, a 16th-century fountain is topped with a contemporary weather vane; driftwood geese and an antique wrought-iron ship’s chandelier act as sculpture.

The dining room’s oak table, a flea-market find, is surrounded by French chairs from the 1940s.

The swimming pool sits amid a grove of oak and olive trees.

“I drink rosé and gaze at the beauty,” Betty says. And François? “I dream.” In the outdoor living room, the woven sofas, chairs, ottomans, and tables are by Tectona. For details, see Resources.

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The master bedroom’s custom bed is covered in a Bernard Thorp fabric, the side tables at right are by Jean-Michel Wilmotte, and the lamps are from Blackman Cruz; the chair is a circa-1930 prototype of a design by Axel Einar Hjorth, and the collages over the bed are by Yves Saint Laurent.

it’s comfortable, with a mix of important designs such as a 1930s prototype of a chair by Axel Einar Hjorth; flea-market finds like the mirrors he had made from tractor wheels; and common commercial items, like a Crate & Barrel sunburst mirror in the guest bedroom. On the walls of the small master bedroom is a series of collages by Saint Laurent. “Yves gave me everything: his love, his clothes, his jewelry, part of his life, and his art,” Betty says. “When he got inspired, he would write or draw or paint, and he gave what he created to me.” Several years ago, François added an outdoor living room and dining room, semi-open spaces that are oriented to block the powerful mistral wind. The outdoor dining room’s clay tile roof is supported by massive columns François had copied from the nearby medieval Château d’Ansouis. On the patio of the outdoor living room, he placed an old stone horse trough that he converted into a fountain, making the area that much more serene. “This room has changed my life,” he says. Twice each season, the couple invite a pack of friends and the house fills with noise and activity. On occasion they receive intimates such as former Yves Saint Laurent CEO Pierre Bergé, who has a home in nearby Saint-Rémy-de-Provence, for a Provençal dinner. Otherwise, the pair remains alone, each relishing the other’s company. “I’m like a guest in my house,” Betty says. “It’s all François’s doing, you know. I live with a genius. I’m the luckiest girl in the world.” ◾ 148

A wall sculpture by Jean Derval.

An Indonesian mirror hangs over a custom bar in the outdoor living room; the woven chairs are by Tectona. For details, see Resources.

REDEF I N I NG A CLASSIC

FOR DESIGNER JEAN-LOUIS DENIOT, AN APARTMENT IN AN UP-AND-COMING NEIGHBORHOOD PROVIDES A PERFECT CANVAS FOR AN INSOUCIANT UPDATE ON CLASSIC PARISIAN STYLE As a kid growing up in Paris, designer JeanLouis Deniot spent a lot of his time building miniature movie and theater sets while dreaming of a career in the arts. After studying architecture and design, he immediately opened his own office and began creating dramatic interiors inspired by cinematic scenes. Now dividing his time between Paris and Los Angeles, Deniot infuses his work with a signature balance of classic rigor and playful detail. “It’s always about setting a mood in a specific spot,” he says. “Nothing is ever too serious or too heavy.” So when a client with quintessentially French tastes called about a project that included the gut renovation of a rambling, oddly shaped apartment in Paris’s gritty 10th arrondissement, Deniot rose to the challenge. “It’s a trendy neighborhood now,” he says, “but it’s not too sophisticated, and not the kind of place where you would imagine a classic French flat.” Deniot’s client, a successful dot-com entrepreneur, had found a light-filled 19th-century space perched above the Boulevard de Magenta, a traditionally working-class thoroughfare that runs past the Gare du Nord and the Gare de l’Est, two of the busiest train stations in the country. The client wanted to create something that had little bearing on the neighborhood—something more reminiscent of Malmaison and Versailles, and less evocative of the hustle and bustle below. “He really studied the French vernacular,” says Deniot. “But then I thought, You can’t be too uptight.” And so the designer convinced his client to adopt an eclectic approach. “He TEX T BY K ATE BET TS · PHOTOGRAPHY BY SIMON UPTON · PRODUCED BY CYNTHIA FRANK

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In the living room of a Paris apartment designed by Jean-Louis Deniot, the ebonized-wood rocking chair is from the 1950s, the ’30s mahogany armchair is in a Le Manach fabric, the cocktail table is by Hagit Pincovici, and custom sconces flank an antique French mirror. OPPOSITE: The library’s wicker chair is by Gio Ponti, the 1930s Margaretha Köhler armchair is in a Dedar velvet, and the 1940s André Sornay chair is in a Robert Normand cotton; the side table is by LaChance, the ceramic lamp is by Keramos, the 1950s wall light is by Knud Hjerting, and the bronzeand-alabaster pendant is custom; the rug is by Kvadrat, the sculpture is by Claudia Wieser, and the walls are in Benjamin Moore’s Jade Romanesque. For details, see Resources.

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The living room’s custom sofa is in a Dedar damask, the pillows are in Nobilis velvets and an African wax print fabric, the Directoire armchair is covered in a Kirkby Design canvas, and the gilded console is Louis XVI; the 1940s floor lamp is by André Arbus, the side table is by Stéphane Parmentier, the curtains are of a Robert Normand fabric, the double-headed Lunel sconce is from the 1950s, and the Gaetano Sciolari chandelier is from the 1960s; the brass bar cart, Moroccan rug, and painted-steel wall sculpture are all custom. For details, see Resources.

realized we needed to be more playful, like a patchwork,” Deniot explains. “But that can be difficult. Nothing can be too arranged and stable. I tried to assemble things that shouldn’t be together in the first place, creating awkward juxtapositions.” The project, which took a year-and-a-half to complete, is a perfect incarnation of Deniot’s surprising style. In an enfilade of sun-filled sitting rooms, he balances urban sophistication with classic 18th-century decor. The dining room, for example, is punctuated by beautifully restored ceiling moldings and Louis XVI chairs, but to tweak this straitlaced sensibility, Deniot installed a wall of beveled, distressed mirror tiles in a manner similar to subway tiles. In the living room, Deniot covered a groovy 1960s-style sofa—more Palm Springs than Paris—in traditional French damask, so it wouldn’t feel “too gadgety.” The library’s Gio Ponti wicker chair coexists with a 1940s André Sornay chair and a 1930s Keramos ceramic lamp sitting on an original 1880 French Carrara-marble mantel. Even throw pillows throughout the apartment eschew traditional ikats or Scalamandré fabrics for African wax print textiles, striking a decidedly funky note—as if Marie Antoinette were dressed in a tribal muumuu. “It’s supposed to be fun and bubbly, not staid,” Deniot says. “He likes things to be decorated, but not too seriously. This is his idea of a Parisian apartment.” In French, the word is désacraliser—to play with formal pieces and make them informal. The chairs in the living room have nothing to do with each other stylistically: Everything is a little off and meant to intrigue. Instead of the faux-marble columns often used in classical LEFT, FROM TOP: In the library, a 1980s diptych painting hangs above a 1940s desk by Maison Jansen and a chair in an Edmond Petit fabric, both in the Louis XVI style; the lamp is by Fabien Cappello, and the wallcovering is by Pierre Frey. In a hallway, the sconces are custom and the walls are sheathed in an Osborne & Little wallpaper and painted in Benjamin Moore’s Bermuda Turquoise, right; the custom floor is French limestone and black marble. OPPOSITE: In the dining room, the perforated brass table is custom, a pair of 1930s French chairs are upholstered in an African wax print fabric, and a set of Louis XVI dining chairs are in a Sanderson fabric; a sculpture by Steffen Christensen sits on a 1930s rosewood sideboard, the ceiling fixture is by Michael Anastassiades, and the straw-and-leather rug is from Marrakech; a wall is covered in antiqued mirror tiles, and the room is painted in Benjamin Moore’s Mozart Blue and Graphite. For details, see Resources.

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interiors, Deniot made curtains in the living room with a fabric printed to look like marble. In the guest room, the four-poster iron bed finished with distressed gold leaf—a modern version of an 18th-century lit à la Polonaise— is covered in a fabric resembling terrazzo marble, a wink at the technique used on Italian floors; the rug also looks like marble. When the client first met with Deniot, he brought a photo of Louis XVI paneling with layers of patina and gilt trim. “I knew he wanted those kinds of distressed panels, but it would be way too formal,” Deniot remembers. Instead, the designer had the idea to paint the living-room walls with a trompe l’oeil made to resemble water damage—so that the whole decor looked like it had melted. But the client didn’t go for it, and Deniot ended up painting the room gray. A few days after moving in, the client called Deniot and said there was something missing. So the water-damage paint job was installed. “The whole idea is anti-decor,” says Deniot. “To make it look like the owner did it himself—to make it look natural.” Which is, of course, very French. ◾

In the guest bedroom, a custom forged-iron bed finished in gold leaf is dressed with pillows in Robert Normand and Lelièvre fabrics, the light fixture is a 1940 plaster bird sculpture, and the curtains are of a Pierre Frey chintz and Dedar fabric; the custom rug is by Serge Lesage, and the walls are painted in Benjamin Moore’s Sterling Silver. OPPOSITE, TOP: The master bath’s custom brass shower and marble sink set into a Louis XVI half-moon chest have Waterworks fittings, the tub is by Aston Matthews, the wall light is by Pierre Chareau, and the ceiling pendant is a 1950s design by Afra and Tobia Scarpa; the curtains are of a Holland & Sherry fabric, and the walls are in an Au Fil des Couleurs paper and Benjamin Moore’s Graphite. OPPOSITE, BOTTOM: In the master bedroom, a 1920s neo-Egyptian armchair is in a Gastón y Daniela fabric, a cabinet from Token is topped with a lamp by Emmanuel Babled, and the crystal lamps and bronze ceiling pendant are by Deniot; the leather rug is by Serge Lesage, the walls are in a custom color, and the portraits are from the 16th century through the 1960s. For details, see Resources.

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PAR AD I S E REGAINED An American designer returns to his roots on the French Riviera when he acquires a storied house and the terraced garden he played in as a child, and restores them to their former glory

John-Mark Horton grew up fluent in both French and English, and no matter which language he is speaking, he says, his accent falls somewhere between the two. The Los Angeles–based interior designer was raised in Chicago but spent vacations visiting his mother’s French-Greek parents, who lived in Monaco, the fashionable city-state on the French Riviera. In the late 1960s, Horton’s mother came to own a pied-à-terre in the nearby medieval village of Roquebrune. A twisting warren of red-tile roofs, narrow streets, and arched passageways, Roquebrune spills down a steep hillside. Presided over by a 10th-century castle, the village lies at the heart of the commune of RoquebruneCap-Martin; the Italian border is a few miles away. When in Roquebrune, Horton’s mother would call on her friends Raymond Poteau and Henry Clarke. In the 1950s, Poteau, a decorator and antiques dealer from northern France, had purchased a multilevel living space that had once been the almshouse of a church. A few years later, Poteau and Clarke, an American photographer for Vogue, became a couple, and over time they added floors above and around, as well as a threestory annex separated from the main house. (“The entire village is one large, interconnected apartment building, like a beehive,” explains Horton.) A walled produce garden lay at the foot of the house, and Poteau bought it parcel by parcel from his neighboring villagers. He gradually turned it into a formal garden with wide-angle views of the sea. While Horton’s mother lunched with Poteau and Clarke, the boy would play in the garden. “The extremes of light and shade, and all the little corners you could hide in—it was glorious,” he remembers. Another visitor from the same period agreed. “Small but precious,” Princess Grace of Monaco said of the garden in My Book of Flowers, her 1980 publication. “Its main charms are the small niches and grottoes where you happen upon a statue or come across a pot filled with geraniums.”

The boy grew up. “My mother fell ill, and I didn’t return to France for a good 10 years,” he says. “I went to school, began work, began to live my life.” He inherited his mother’s apartment and, during a trip to Roquebrune in the early ’90s, renewed his friendship with the two men, just as Poteau was succumbing to cancer. Upon Clarke’s death in 1996, the house was donated to the Pasteur Institute, which put it up for auction. “I flogged it to everyone I knew who had two pennies to rub together,” says Horton. “I hoped someone would buy it so I could keep going back.” At last, he faced the inevitable: He would have to buy the house himself. For the first couple of years, Horton worked on the “innards,” he says, replacing the electricity and plumbing. The kitchen was inconveniently separated from the dining room by a few floors, so he carved a more convenient one out of the storage room of an adjacent building. Poteau and Clarke’s antique French furniture had been auctioned off, so Horton replaced them with pieces from his own family, and flea market and auction finds. But he largely left Poteau’s vision intact. “I did my best to keep as much as possible of what Raymond had done, because he had extraordinary taste,” says Horton. “He’s the one responsible for all of the accreted detail, like the bits of Roman and Hellenistic art embedded into the walls, and the amazing collection of 18thcentury French and Dutch tiles in the bathrooms.” The garden, a series of descending terraces, is “a mix of French and Italian,” says Horton. “Even though it has a structured formality, a lot of the plants grow in such a way as to create a semiromantic decay.” The grounds contain “pretty much every kind of plant that you can think of,” he says, in part thanks to the midcentury community of gardening Brits who gave Poteau cuttings from their world travels. Pink oleander and orange trees rise from a knot garden of boxwood hedges. Senateur la Follette roses, which bloom much of the year, climb a trellis surrounding an outdoor dining table with views of Monaco.

TEX T BY PETER TERZIAN · PHOTOGRAPHY BY RICARDO L ABOUGLE · PRODUCED BY MIEKE TEN HAVE

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The view of the trilevel garden overlooking the Mediterranean from designer John-Mark Hortonâ&#x20AC;&#x2122;s home on the French Riviera. The upper terrace features raised beds of white begonia and black monkey grass, edged in miniature boxwood and clay tiles; the fountain is a converted Japanese granite basin. On the main level below, the garden is planted with cycad and citrus trees, pink oleander, and roses. For details, see Resources.

On the gardenâ&#x20AC;&#x2122;s main level, pink oleander framed by hedges form a path to the main house, a former church almshouse that was renovated in the 1950s and later expanded; the large olive jar is from the 18th century.

CLOCKWISE FROM TOP: In the living room, a

pair of 19th-century chairs is French, the highbacked chair is Louis XIII, a 20th-century cabinet has an Italian Baroque carved door, and the painting over the mantel is 18th-century Italian. An entry is clad in Portuguese tiles from the 1960s, and the mirror is 18th-century French. In the annex house, the living roomâ&#x20AC;&#x2122;s banquette is custom, the folding table is from North Africa, and the flooring is clay tile by Les Terres Cuites des Launes. For details, see Resources.

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Poteau also planned the garden for scent as well as sight. “He planted a night-blooming jasmine at the base of the house,” says Horton, “so that in summer, at certain times in the night, you suddenly get a whoosh of perfume that floods the rooms up to the fourth floor.” Horton, who lives in a Rudolf Schindler house in Los Angeles, visits Roquebrune in spring, “when everything blooms,” and in September, “when the bay fills with boats for the Monaco Yacht

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Show.” He admits that maintaining a property halfway around the world can be frustrating. “I keep thinking I should sell it, but I can’t bring myself to do it, because I would never be able to find anything like it again in my lifetime. I still remember the first time I returned, after my childhood, and walked through the living room out to the loggia, with the view over the garden and bay, and Monaco in the distance. It just took my breath away, and that still happens every time I go.” ◾

A terrace framed by Senateur la Follette roses, with Monaco visible in the distance; a pair of 19th-century café tables with marble tops is surrounded by reproductions of antique French garden chairs. OPPOSITE, CLOCKWISE FROM TOP: In the master bedroom of Horton’s penthouse apartment, the bed is topped with a mohair blanket from the French Alps; the 1950s English bedside table is mahogany, and the hand-painted wallpaper is 19th-century English. The gilt mirror in the penthouse master bath is 18thcentury Italian, and the walls are lined with ’60s English tile. On the loggia, the settee was repurposed from a 19th-century bed, the walls retain their original ’50s red ocher paint, and the flooring is clay tile and Carrara marble. For details, see Resources.

DOU BLE FEATURE In France’s Basque Country, Renaissance man and passionate collector Christian Astuguevieille discovers that when it comes to housing his latest acquisitions, two artfully arranged apartments are better than one

Designer Christian Astuguevieille is constantly in need of space. “Like many people who create things, I have the problem of where to store them,” he says. The solution he has found is to have not one, but two apartments, two doors apart, in the city of Bayonne in southwestern France. In both spaces, paintings are propped against walls, shelves are massed with an accumulation of objects, and entire rooms have been set aside to house his archives. Even a bathroom wall is lined with bookshelves. Astuguevieille is a man of many talents. He is creative director of Comme des Garçons Parfums (his latest scent, Concrete, recently launched in the U.S.). He paints, sculpts, and designs everything from jewelry to furniture; fans of the latter include architect Peter Marino and interior designer Nate Berkus. Astuguevieille’s signature material is rope, which he tightly winds around light fixtures, tables, and chests, among other pieces. “It’s wonderfully tactile,” he says. His most recent venture is a collection of earthy, unglazed pottery created with his assistant Frédéric Poircuitte, which will be unveiled at Astuguevieille’s Paris gallery this September. Many of the totemlike forms owe a certain something to one of his most important aesthetic influences—the tribal art of Oceania. Although he maintains a small apartment in the French capital, Bayonne has been Astuguevieille’s main base for the past nine years. In one sense, he sees it as a return to his roots (his family is from the neighboring Béarn region). He also loves the nearby Basque countryside, with its mountains and beaches, but favors living in an urban environment. “I don’t drive, so it’s easier,” he says. “And I need to be surrounded by activity.”

TEX T BY IAN PHILLIPS · PRODUCED AND PHOTOGRAPHED BY JEAN-FRANÇOIS JAUSSAUD

A studio in one of two apartments that the artist and designer Christian Astuguevieille maintains in Bayonne, France. He designed the sofa and its fabric, available through Holly Hunt, as well as the table and chandelier, and he created both the pattern on the oak parquet floor and many of the roomâ&#x20AC;&#x2122;s artworks, using Chinese calligraphy ink. OPPOSITE: On a stairwell landing, the table, cotton-rope sculpture, and wall of drawings are all by Astuguevieille; the flooring is molded glass. For details, see Resources.

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Astuguevieille in one of his studios.

He actually lives in a skinny townhouse in the center of the city—a five-minute walk from the two apartments that he uses for a variety of purposes. The two spaces have much in common: both date from the 19th century, measure about 1,300 square feet, and overlook the river Nive. Architecturally, however, they are quite different: The first, which he mainly uses as an office, is simpler and more typical of Bayonne, with cased windows punched into several of its walls. The second, which houses his painting and drawing studio, is more elaborate, with a monumental stone staircase connecting its two floors. “The plaster moldings were so refined,” he says, “that I just left them as they were.” He did paint trompe l’oeil “rugs” onto the parquet floors, though, in the form of squiggly black doodles. “It was a way of making my mark,” he affirms. “They’re almost like tattoos.” The latter apartment also contains a bedroom; Astuguevieille retreats here when the busy square in front of his townhouse becomes overly raucous. Almost everywhere you look, you come across his creations. There are wooden tables and shelving units from his Bric & Broc collection. He also designed the simple cedar bed and conceived a plethora of wonderfully bizarre objects, including a glass-encased sculpture of a ladle coated with feathers.

In the entry of the duplex apartment, the marbletopped console, Bunch of Grass rope sculpture, and artworks in the stair hall are all by Astuguevieille; the cement floor tiles are circa 1890.

The kitchen’s buffet is by Astuguevieille, and the antique chair is Basque.

In the pottery studio, terracotta sculptures rest upside down atop Astuguevieille’s Bricba table.

Astuguevieille designed the Afribaton chair, marble-topped table, hemp pedestal, Mira mirror, and sconce prototypes in the meeting room; the crystal chandelier is from the early 20th century, and three of his 1992 glass sculptures in ultramarine blue fabric and bulrushes sit atop the 19th-century marble fireplace. For details, see Resources.

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The bedroomâ&#x20AC;&#x2122;s cedar bed, knotted-rope furniture, and sculptures are by Astuguevieille. OPPOSITE: In the master bath, floor-to-ceiling galvanized-iron bookshelves are reached with a metal library ladder; the sculptures and paintings are by Astuguevieille. For details, see Resources.

There are also several objects in a vivid “Yves Klein blue”—a color he has long treasured. “For me, it’s a symbol of both purity and force,” he says. Apart from his own work, few of the furnishings are French. The globe-trotting mix includes a pair of 19th-century Korean thrones, an African marionette, a Biedermeier armchair, and a set of Gio Ponti chairs. That said, he is fond of Gallic engravings: In one of the bathrooms is a 19th-century series that previously belonged to the Comte de Paris, depicting relatives of King Louis-Philippe; in a work space, a set documenting the expeditions of the 18th-century navigator Jean-François de Galaup de La Pérouse hangs above a desk. When it comes to collecting, Astuguevieille is the first to admit he lacks control. “I have so many things that it’s almost indecent,” he jokes. He loves Creil et Montéreau creamware and has numerous stacks of the French faience maker’s plates and tureens. He has also amassed mounds of antique textiles, piles of prehistoric tools, and groups of birds’ eggs (he keeps the latter locked away so that sunlight won’t affect their color). At one time, he even acquired hundreds of inexpensive plastic children’s rings, but they are not on view. “My collections are not designed for display,” he says. “They’re simply meant to exist.” He is, however, currently putting together an inventory of all the jewelry he has ever created, with the idea of donating it to a museum. In total, he believes there are some 2,700 pieces, but he is not yet certain of the final number. “I thought it would be easy to count, but it’s turned out to be complicated,” he admits. “Each time I think I’ve finished, I come across another box!” ◾ 169

FA M I LY A F FA I R Designer Garance Aufaure lovingly restores her 18th-century house in the north of France, imposing her own soignĂŠ stamp without disturbing the charming layers of decor crafted over the decades by her mother and grandmother

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In the living room of Garance Aufaure’s family home in Compiègne, France, the desk is Louis XVI, the gilt chair is Napoleon III, and the Directoire furnishings include an early-19th-century commode, a striped armchair, and a bergère, right, in a Lelievre velvet; a 19th-century giltwood mirror hangs over a black marble mantel, the curtains are of a silk woven in Lyon by Tassinari & Chatel, and the walls are upholstered in a silk moiré. For details, see Resources.

TEXBY T BY VICK Y LOWRY · PHOTOGRAPHY JOHN M. HALL TEXT BY VICKY LOWRY · PHOTOGRAPHY WILLIAM WALDRON · PRODUCED BYBY ROBERT RUFINO

lus ça change, plus c’est la même chose”: The more things change, goes the old French saying, the more they stay the same. Trends may come and go—in politics, fashion, food, decor, you name it—but the fundamentals of life are dependable, rooted as deeply as an ancient oak. Designer Garance Aufaure’s home, a stately, late-18th-century house she shares with her 92-year-old mother in the northern French town of Compiègne, has of course changed over time as it has passed down through their family. Each generation has contributed to the modernization of the home—the attached stables were transformed into a loft that Aufaure now uses as a design studio; a little room where flowerpots were once stored has been refurbished into a new entryway. And the decor has been enhanced, albeit subtly. While her grandmother’s choice of elegant silk moiré continues to line the living room walls, silk curtains have replaced damaged 18th-century Prelle creations. Yet the house—with its effortless, imperfect, utterly French élan—remains essentially the same as it has always been.

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As a child growing up in Paris, Aufaure spent weekends and summer vacations with her cousins at the five-story house, a former hôtel particulier built in the Norman style with timber framing and an inner courtyard ample enough for a horse-drawn carriage to have once delivered its master to his doorstep. The property had been given to her grandparents in the 1920s as a wedding gift from their parents. Situated just outside the walls of the city, near the royal stables—where Napoleon III kept 250 horses—the house is a short walk to Louis XV’s palace and gardens. (A history buff’s paradise, Compiègne is also where the Germans signed the armistice to end World War I in 1918; nearby is France’s third-largest forest preserve, the site of Joan of Arc’s capture in 1430.) Aufaure didn’t initially plan to live in the big house after it was inherited by her mother. When her father, an executive at Saint-Gobain, moved to the United States to open a factory for the famed French glassmaker, she was ready for an adventure and went along too, first earning a degree in English at Hunter College in New York City and

then launching her design career. Through a mutual friend, she was introduced to New York architect Peter Marino and began creating fabric projects for him. “She’d do haute couture curtains for ladies in Dallas,” recalls photographer John M. Hall, a longtime friend who took the photographs for this article. “The fabric cost $750 per yard—they were like ball gowns, fit for a ballroom. Garance’s own taste, though, is very 19th-century—simple, comfortable, and understated.” After her father died in the mid-1990s, she returned to France and, ultimately, the family home, whose decor retains many of its Napoleon-era furnishings. “My mother has exquisite taste, and my grandmother had it too,” declares Aufaure, who more than holds her own in the style department. She has handled everything from the interiors of the Dior boutique on Avenue Montaigne in Paris to private homes for the Hermès family. She has decorated lavish villas in Cap Ferrat and Vienna and is well known for her expertise in antique French textiles. So, over time, she has updated the upholstery here—a forest-green Prelle silk velvet, for instance, on a pair of Jacob armchairs in the living room; a Colefax and Fowler botanical print for the Louis XVI daybed in her bedroom. And weekly trips to the flea markets have yielded an endless supply of both blue-chip furniture finds and smart knickknacks. Her collection of ceramics—including hundreds of organic pieces by Pierre ABOVE: The dining room walls are

sheathed in a linen toile and hung with a collection of Moustiers ceramics, and the custom curtains are of a blue linen. LEFT: The entry hall’s cabinet is Henry IV; a 19thcentury wood trellis original to the house is painted in a mix of green and black paints from Tollens. OPPOSITE, FROM TOP: In the dining room, the walnut table is Louis XVI, the mahogany dining chairs are circa-1820, and the 19th-century brass chandelier is Flemish. A Roman shade in a Lelievre stripe hangs in the kitchen next to rows of copper cookware. For details, see Resources.

Greber—looks right at home among Baroque Florentine chairs, Empire armoires, Sèvres lamps, 18th-century Russian candlesticks, and 19th-century paintings. A constellation of ceramic dishes from Moustiers, fabled for its blue-and-white glazed pieces dating back to the 1600s, hangs on the dining room walls. With seven bedrooms spread throughout the house, there’s plenty of space for her extended clan to visit, much the way she did as a child. Aufaure’s brother, who lives in a nearby village, stops by, as do his children and grandchildren, who pile into a room decorated like a Napoleonic tent. “Everybody gets a bedroom,” she says, adding, “the older you get, the better the bedroom.” She admits that maintaining the historic house is “nearly a full-time job.” Yet it’s also her passion and life’s work. Twice a year, the interiors undergo what she describes, with a laugh, as “painting dramas.” And leaks from the house next door would have crumbled the stone structure had it not been for its original timber frame. “I stay,” she says, “because I love the house so much and feel very protected in it. I am constantly improving it while respecting what the previous generations did. It is the best way to keep it alive.” ◾ 174

The master bedroomâ&#x20AC;&#x2122;s Louis XV bergĂ¨re is covered in a silk damask, and the 19th-century mantelpiece is flanked by 1950s sconces. OPPOSITE, FROM TOP: The daybed and secretary in the master bedroom are Louis XVI, and the side table in the same style is from the 19th century; the desk chair is Louis XV, the vases are by Pierre Greber, and the curtains and bedding are of a Colefax and Fowler glazed cotton. In a guest bath, the vanity is from the late 18th or early 19th centuries, and a trio of engravings of noses and mouths is from the 19th century. For details, see Resources.

In the foyer of Pamela Mullin’s pied-à-terre on the Île Saint-Louis in Paris, the chair and mirror are Louis XV, the gilded bronze sconces are Louis XVI, the chandelier is 19th-century French, and the walls are covered in a vintage wallpaper; the monkey and other taxidermy in the apartment are from Deyrolle, the 186-year-old Paris shop that uses only animals that have died naturally. OPPOSITE: Curtains of a Lelievre fabric frame a view of NotreDame. For details, see Resources. TEX T BY CELIA BARBOUR PHOTOGRAPHY BY JAMES MERRELL PRODUCED BY ROBERT RUFINO

F L I G H T S of FA N C Y When an adventurous Californian fulfills her lifelong fantasy of owning a pied-Ă -terre on the Seine, she enlists expert friends to help create a spirited mix of Parisian ĂŠlan, exuberant color, and audacious whimsy beyond her wildest dreams

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The living room’s sofas are in a Colefax and Fowler fabric, a pair of voyeuse chairs in the foreground is from the 18th century, and the Louis XV bergères are in a Fortuny fabric; the Louis XVI-style demilune consoles are topped with antique chinoiserie lamps from Galerie Sylvain Lévy-Alban, the chandelier is 19th-century French, and the drawings are by David Hockney. For details, see Resources.

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Some people always land on their feet. Others somehow land on magic slippers, emerging from adversity with a fierce creative power and a will to live gloriously. In that enchanted group is Pamela Mullin, a Los Angeles resident who these days prefers to park her slippers in an apartment on the Île Saint-Louis in Paris. Mullin has nailed such landings more than once. Born in Scotland, she survived a demanding childhood. “We had a pub down by the docks,” she says. “It was tough.” When she was seven, her father died. At 15, she dropped out of school. At 17, she flew to America with $100 in her pocket and found a job in a typists’ pool in Los Angeles. “It was the Mad Men era,” she says. Flash forward some three decades: Mullin’s marriage to a successful entrepreneur had run its course, and her four children were nearing adulthood. It was time for a new chapter. “I woke up one day,” she says, “and decided I wanted an adventure.” Not just any adventure, however. “I had requirements,” says Mullin. She adored Paris, and she had nursed a dream of living on the Île Saint-Louis, an island in the river Seine in the center of the city that has long been a prestigious address. “Pas possible,” replied the real estate agents. Apartments on the tiny, historic island rarely come on the market. So Mullin settled for a flat on the Left Bank. “I was sad that I wasn’t going to live out my fantasy,” she says, “but I accepted that it wasn’t to be.” She was sitting in a car, en route to the closing on the Left Bank apartment, when an agent called. The

The kitchen’s stove is by Lacanche, the antique sink has fittings by Volevatch, and an 18thcentury chair has a cushion in a Pierre Frey check.

“Pas possible,” said the real estate agents when Pamela Mullin told them she wanted to buy an apartment on Paris’s prestigious Île Saint-Louis. “I was sad that I wasn’t going to live out my fantasy,” she says. Then the impossible happened.

The guest bedroom’s custom daybed, walls, and curtains are in Pierre Frey fabrics, a pair of 18th-century chairs are by Pierre Nogaret, and the side table is 17thcentury Dutch.

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impossible had happened: An apartment on the Île Saint-Louis was for sale. “I told the driver to turn around,” she says. When she arrived to see it, Mullin discovered a place that hadn’t been lived in for decades. The rooms were divided into multiple small spaces, the ceilings had been lowered, and the windows were covered to conserve heat. None of that mattered. “What I saw were seven windows overlooking NotreDame Cathedral and the Seine,” she says. “And I fell absolutely head-over-heels in love.” That day, she acquired two apartments. For the next few years, Mullin lived on the Left Bank while her dream apartment was being restored and renovated. She oversaw the work herself, seeking advice from decorator friends, antiques dealers, and artisans. Although she’d never fancied herself a designer—“I make no pretense,” she says—she’d developed a keen eye from poring over decorating books and magazines. She had the apartment’s dividing walls removed to create a large master bedroom and an even larger living room, while leaving the kitchen and guest room quaint and intimate. Much of the decorating happened serendipitously, item by item, shop by shop, guided by her instincts. “I’m a shopkeeper’s dream,” she says. “I know exactly what I like.” When a colorful wallpaper became briefly available, she snapped it up and covered her foyer in it. She bought a 17th-century desk and Louis XIV gueridon from the respected antiques dealer Sylvain Lévy-Alban, then picked up a sink and guest room chairs at the flea market.

The master bedroom’s sitting area has a view of the Panthéon; the 17th-century French desk is from Galerie Sylvain LévyAlban, the 18th-century chairs are in a Travers fabric, the curtains are in a Veraseta fabric, the carpet is from Stark, and the gilded-bronze Pinocchio sculpture is by Hubert Le Gall. For details, see Resources.

The result was “wonderful—a real Parisian apartment—but not perfect,” she admits. “And I wanted perfect.” The problem? It was too traditional. “It didn’t feel like me,” says Mullin. Longing to introduce a lighter touch to the rooms, she sought input from designer Didier Benderli, who advised her to replace the dark velvet upholstery with fresh prints from Colefax and Fowler, as well as Fortuny. From California, she brought a series of Celia prints by David Hockney. She hired color specialist Jean Parrot to inject her palette of reds and greens with energy: The living room became teal and persimmon; the master bedroom celadon and cerise. She became a collector of Hubert Le Gall, a surrealist furniture maker and artist responsible for several of her favorite objects, including a pair of gilded-bronze Pinocchios. “It all just sort of came together,” she says.

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During a dinner party one night, a guest said, “Something is missing! Your chandelier needs a parrot.” The next day, three taxidermy parrots arrived at her door. Whimsy had taken full control of her flat. Mullin now also cohabits with several monkeys and a pair of magnificent stuffed tigers. Her bedside table is in the shape of a frog; a resin elk head overlooks the kitchen. It’s tempting to see this imaginative flourishing as a fulfillment of some childhood dream. Not so. Mullin insists that her childhood dreams were as dim as her surroundings. Instead, what has occurred on the Île Saint-Louis is entirely new: a wellearned, mature flourishing of creativity, wit, and joy. “My life in Los Angeles is kind of conservative,” says Mullin. “I’ve got a reputation, a family. But here I’m just another ‘schmerf’ on the streets of Paris. It’s a wonderful thing. You can do anything here, and people say, ‘It’s just Paris.’” ◾

The 18th-century sleigh bed in the master bedroom is covered in a Travers fabric; the 17th-century Italian wall sconce is from Galerie Sylvain LévyAlban. OPPOSITE: The master bedroom’s Louis XV chaise longue is in a Pierre Frey fabric, the Louis XIV gueridon is circa1680, the circa-1750 chair is by Pierre Nogaret, and the throw is by Hermès. For details, see Resources.

resources Items pictured but not listed are from private collections.

The living room of a Parisian home designed by JeanLouis Deniot.

MASTHEADS PAGE 32: Boca light fixture, in Aged Brass, #1225-AGB, $1,626, by Hudson Valley Lighting (hudsonvalleylighting.com). Klimt wool rug, $10,000, by Commune for Christopher Farr (christopherfarr.com). Musa bookcase, $41,000, by Armani/Casa (armanicasa.com). PAGE 34: Bouquets silk pillow, #907507, $100, by Yves Delorme (yvesdelorme.com).

UNCONVENTIONAL WISDOM PAGES 58–60: Christian Liaigre of Liaigre (christian-liaigre.us).

SHORTLIST PAGE 72: Philippe Starck of Starck (starck.com). La Co(o)rniche Hotel (lacoorniche-pyla.com). Shoes by Under Armour (underarmour.com).

TREND ALERT PAGE 74: Sundance metallic cotton blend, in Blush, #10324-006, to the trade from Don ghia (donghia.com). Nesso wool-blend rug, in Lavender, from $1,000, by Matteo Cibic, from Scarlet Splendour (scarletsplendour.com). Oyster Perpetual Lady-Datejust, in Stainless Steel, $6,300, by Rolex (rolex.com). Iris chair, in Pink, $5,530, by Fendi Casa (luxurylivinggroup.com). Vague silk-cotton fabric, in Legno Di Rosa, #30089-010, to the trade from Rubelli (rubelli.com). Shell spoons, $26 for a set of four, from Aero (aerostudios.com). Fazzoletti Murano glass–and–gold leaf vases, from $553, by Venini (venini.it). Prima alpaca–merino wool blend fabric, in Dusty Rose, to the trade from Sandra Jordan (sandrajordan.com). Escape bookcase, $68,000, by Fernando Mastran gelo for Maison Gerard (maisongerard.com). Caglio velvet slide, in Pink, #579126, $520, by Rochas (modaoperandi.com). Mid bronzeand-leather credenza, in Natural, $20,800, by BDDW (bddw.com). Bali wool-cotton fabric, in Violet/Purple/Aubergine/Pink/Rose, #2746, to the trade from Sahco (sahco.com). Flower Top drop earrings, $8,300, by Arman Sar kisyan (octannerjewelers.com). Ninfea leather, in Watersuede 410, to the trade from Studioart (studioart.it). Lace dress, $5,990, from fall 2017 by Carolina Herrera (carolinaherrera.com). Ebony cut fringe, in Blush, #33119-9420, to the trade from Houlès (houles.com). Silky Satin lipstick, in Bikini, #8052000X120, $90, and Loubilaque lip gloss, in Preciosa, #8052011X130, $85, by Christian Louboutin (christianlouboutin.com). Stretch Knot clutch bag, #202031 VAQH0, $3,350, by Bottega Veneta (bottegaveneta.com).

TALENT PAGES 76–78: Jacques Jarrige (jacquesjarrige.com) is represented by Valerie Goodman Gallery (valeriegoodmangallery.com). PAGES 80–82: Louis Benech (louisbenech.com).

INSPIRATION PAGES 87–92: Frank de Biasi of Frank de Biasi Interiors (frankdebiasi.com). Timothy Corrigan of Timothy Corrigan Inc. (timothy-corrigan.com). Tom Scheerer of Tom Scheerer Inc.

184 ELLE DECOR

(tomscheerer.com). Penny Drue Baird of Dessins (dessinsllc.com).

$44 for a 12-piece set, from Williams Sonoma (williams-sonoma.com).

TRUTH IN DECORATING

MADE IN FRANCE

PAGES 98–102: Mary McDonald of Mary McDonald, Inc. (marymcdonald.com). Robert Stilin (robertstilin.com).

DANIEL’S DISH PAGES 112–116: Daniel Boulud of restaurant Daniel (danielnyc.com). Édouard Loubet of La Bastide de Capelongue (capelongue.com). Yves Camdeborde of Le Comptoir (hotel-paris-relais-saintgermain.com). Sébastien Bouillet of Pâtisserie Bouillet (chocolatier-bouillet.com). PAGE 114: Poppy tablecloth, #TBL109L, $258, and Cobalt plaid napkin, #NAP112, $82 for a set of four, by Heather Taylor Home (heathertaylorhome.com). Ceramic dinner plate, in Cirrus Blue, #649500, $40, by Revol (revol1768.com). Bistro Flatware fork,

PAGE 119: Cressent silk damask, in Citron, #HO0004-1641, by Tassinari & Chatel, to the trade from Stark (starkcarpet.com). PAGE 120: Axel de Beaufort of Hermès Sur Mesure (hermes.com). Tassinari & Chatel (tassinari-chatel.com). Salon des Jardins silk taffeta, #HO-0001-1588; La Favorite silk lampas, in Bleu, #HO-0005-1638; and Royal Danceny silk drugget, in Ivoire, #HO-0001-1651, by Tassinari & Chatel, to the trade from Stark. PAGE 122: Charlotte Dauphin de la Roche foucauld of Dauphin (maisondauphin.com). PAGE 124: L’École, the School of Jewelry Arts (lecolevancleefarpels.com). Lierre de Paris white gold–and–pavé diamond necklace, price upon request, by Boucheron (us .boucheron.com). Antoinette white gold,

pink sapphire, diamond, and pearl earrings, price upon request, by Chanel Fine Jewelry (chanel.com). Fleur Bleue white gold, sapphire, diamond, emerald, and tourmaline ring, price upon request, by Van Cleef & Arpels (vancleefarpels.com). Résonances white gold, sapphire, ruby, emerald, and diamond necklace, price upon request, by Cartier (cartier.com). Summer Beetle white gold, opal, sapphire, tourmaline, beryl, and diamond brooch, $148,700, by Lorenz Bäumer (lorenzbaumer.com). PAGE 126: Rinck (rinck.com). PAGE 128: Cogolin (manufacturecogolin.com). Labyrinthe, Les Cantres Jardin 5 by India Mahdavi, and Les Cantres Levant carpets, by Cogolin, to the trade from House of Tai Ping (houseoftaiping.com). PAGE 130: Atelier Mériguet-Carrère (ateliermeriguet.fr). PAGE 132: Hervé Van der Straeten (vander straeten.fr). Declercq Passementiers (declercq passementiers.fr). Pouenat (pouenat.fr). Pagode brass light fixture, price upon request, by Sybille de Margerie for Pouenat. PAGE 134: Atelier Prométhée (atelierpromethee.com). Mediterraneane, Iznik, and Renaissance tiles, to the trade from Atelier Prométhée. PAGE 136: Prelle (prelle.fr). Kérylos silk-cotton fabric, in Bleu, #P69413 001, Furry cotton-silk taffeta, in Hermine, #P69667 005, Giustinia silk-cotton fabric, in Fard, #P69670 001, to the trade from Prelle. Lison de Caunes (lisondecaunes.com). PAGE 138: Féau & Cie (feauboiserie.fr). PAGE 140: Le Manach (lemanach.fr). Tombouctou fabric, #L4532; Hermine fabric, #L4157; Jazz fabric, #L3559; Alesia fabric, #L3077; Les Écailles fabric, #L3914; and Behanzin fabric, #L3699, by Le Manach, to the trade from Pierre Frey (www.pierrefrey.com).

A PLACE IN THE SUN PAGES 142–149: Interior design by François Catroux (011-33-1-42-66-69-25).

PAGES 142–143: Curtains in cotton by Bernard Thorp (bernardthorp.com). Papier-mâché donkey from Blackman Cruz (blackmancruz.com). PAGE 145: Sofa and chairs upholstered in fabric by Bernard Thorp.

PAGE 147: In outdoor living room, woven sofas, chairs, ottomans, and tables by Tectona (tectona.net). PAGE 148: In master bedroom, bed in fabric by Bernard Thorp. Lamps from Blackman Cruz.

REDEFINING A CLASSIC PAGES 150–157: Interior design by Jean-Louis Deniot (deniot.com). PAGE 150: Sculpture by Claudia Wieser from Sies + Höke (sieshoeke.com). Wicker armchair upholstered in Love Me Tender fabric, in Sapin, #71259-008, to the trade from Créations Métaphores (creations-metaphores.com). Side table by La Chance (lachance.fr). Rug by Kvadrat (kvadrat.dk). André Sornay armchair upholstered in Agate fabric, to the trade from Robert Normand (robertnormand.com). Custom lampshade by Anne Sokolsky (abatjour-paris.com). Margaretha Köhler armchair upholstered in Oban velvet, in Verde Inglese, to the trade from Dedar (dedar.com). Walls in Jade Romanesque, #476, by Benjamin Moore (benjaminmoore.com). Ceiling pendant by Jean-Louis Deniot. PAGE 151: Custom Moroccan rug by Jean-Louis Deniot. Side table by Stéphane Parmentier of Ormond Furniture & Interiors (ormondeditions.com). Coffee table by Hagit Pincovici from Pamono (pamono.com). Armchair upholstered in fabric by Le Manach, to the trade from Pierre Frey (www.pierrefrey.com).

PAGES 152–153: Custom bar trolley by JeanLouis Deniot. Directoire armchair upholstered in Basket Canvas fabric by Kirkby Design (kirkbydesign.com). Curtains in Rocher fabric, to the trade from Robert Normand. Artwork and custom sofa by Jean-Louis Deniot, upholstered in Pure Damask fabric, to the trade from Dedar. Pillows upholstered in Malachite and Nabab velvets, to the trade from Nobilis (nobilis.fr). PAGE 154: In library, Ursa wallcovering, in Olive, #FP378001, to the trade from Pierre Frey. Chair upholstered in Trianon II fabric by Edmond Petit (edmond-petit.fr). Desk lamp by Fabien Cappello from Galerie Torri (galerietorri.com). In hallway, walls in Du Barry Stripe wallpaper, by Osborne & Little (osborneandlittle.com), and Bermuda Turquoise, #728, by Benjamin Moore.

PAGE 155: Dining chairs upholstered in Harlequin fabric, to the trade from Sanderson (sanderson-uk.com). Chandelier 9 by Michael Anastassiades from The Future Perfect (thefutureperfect.com). Walls in Mozart Blue, #1665, by Benjamin Moore. Doors in Graphite, #1603, by Benjamin Moore. PAGE 156: In master bathroom, custom shower and sink fittings by Waterworks (waterworks .com). Astonian Brunel tub by Aston Matthews (astonmatthews.co.uk). Curtains in Trocadero fabric, in Marine, to the trade from Holland & Sherry (hollandandsherry.com). Baseboard painted in Graphite, #1603, by Benjamin Moore. In master bedroom, curtains in Inuit fabric, in Pigeon, to the trade from Lelievre (lelievre.eu). Custom leather rug by Serge Lesage (sergelesage.com) with fabric to the trade from Lelievre. Lamp by Emmanuel Babled from Secondome (secondome.biz). Dorothy Dry Bar cabinet from Token (tokennyc.com). Pair of armchairs upholstered in Savannah fabric, in Azul/Negro, to the trade from Gastón y Daniela (gastonydaniela.com).

PAGE 157: Custom rug by Jean-Louis Deniot, manufactured by Serge Lesage. Pillows upholstered in fabric by Robert Normand, and Damas Orion fabric, in Aigue-Marine, #412003, to the trade from Lelievre. Curtains in chintz fabric, in Gray, to the trade from Pierre Frey, and Marabou fabric by Dedar. Walls in Sterling Silver, #1461, by Benjamin Moore.

PARADISE REGAINED PAGES 158–163: Interior design by John-Mark Horton (johnmarkhorton.com). Construction by Salvatore Pappalo of Bati Arte (pappalo@orange.fr). Carpentry by Eric Meric

ELLE DECOR 185

resources Designer JohnMark Horton’s home on the French Riviera boasts views of Monaco.

PAGES 170–171: Directoire bergère upholstered in velvet, to the trade from Lelievre (lelievre.eu). PAGE 172: In kitchen, Roman shade in fabric, to the trade from Lelievre. PAGE 173: In entry hall, trellis paints by Tollens (tollens.com). PAGE 174: In master bedroom, curtains, daybed, and pillows in fabric, by Colefax and Fowler, to the trade from Cowtan & Tout (cowtan.com).

PAGE 183: Sleigh bed and desk chair upholstered in fabric, by Travers, to the trade from Zimmer + Rohde (zimmer-rohde.com). Curtains in fabric, to the trade from Veraseta (veraseta.fr). Sconce from Galerie Sylvain Lévy-Alban.

NO PURCHASE NECESSARY TO ENTER OR WIN. ELLE DECOR Fermob Sweepstakes. Sponsored by Hearst Communications, Inc. Beginning July 25, 2017, at 12:01 A.M. (ET) through September 4, 2017, at 11:59 P.M. (ET), go to fermob.elledecor.com on a computer or wireless device

FLIGHTS OF FANCY PAGES 176–183: Didier Benderli of Kerylos Intérieurs (kerylosinterieurs.com). Taxidermy by Deyrolle (deyrolle.com). PAGE 177: Curtains in fabric, to the trade from Lelievre (lelievre.eu). PAGES 178–179: Sofas upholstered in fabric, by Colefax and Fowler, to the trade from Cowtan & Tout (cowtan.com). Bergères upholstered in fabric, to the trade from Fortuny (fortuny.com). Chinoiserie lamps from Galerie Sylvain Lévy-Alban (levyalban-antiquesparis.com). of Menuiserie Meric (menuiseriemeric@ hotmail.fr). Fabrics and upholstery by Oreste & Paolo Tacconi (paolotacconi77@yahoo.it). L’Aumonerie (aumonerie-frenchriviera.com). PAGE 161: Tiles by Les Terres Cuites des Launes (terrescuitesdeslaunes.com).

and complete the entry form pursuant to the on-screen instructions. One (1) Winner will receive Fermob’s Bellevie Low Sofa. Total ARV: $2,974. Important Notice: You may be charged for visiting the mobile website in accordance with the terms of your service agreement with your carrier. Odds of winning will depend upon the total number of eligible entries received. Must have reached the age of 18 or older and be a legal resident of the 50 United States, the District of Columbia, or Canada (excluding Quebec). Void in Puerto Rico and where prohibited by law. Sweepstakes subject to complete official rules available at fermob.elledecor.com.

ELLE DECOR (ISSN 1046-1957) Volume 28, Number 7, September 2017, is published monthly except bimonthly in January/February and July/August, 10 times a year, by Hearst Communications, Inc., 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Catherine A. Bostron, Secretary. Hearst Magazines Division: David Carey, President; John A. Rohan, Jr., Senior Vice President, Finance. © 2017 by Hearst Communications, Inc. All rights reserved. ELLE DECOR is a registered trademark of Hearst Communications, Inc. Periodicals postage paid at N.Y., N.Y., and additional mailing offices. Canada Post

DOUBLE FEATURE PAGES 164–169: Interior design and artworks by Christian Astuguevieille (galerie-vivienne.com).

PAGE 180: In kitchen, chair cushion upholstered in fabric, to the trade from Pierre Frey (www.pierrefrey.com). In guest bedroom, daybed, walls, and curtains in fabrics, to the trade from Pierre Frey. PAGE 181: Desk from Galerie Sylvain Lévy-Alban. Gilded-bronze Pinocchio sculpture by Hubert Le Gall (hubertlegall.wordpress.com).

International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription prices: United States and possessions: $15 for one year. Canada: $41 for one year. All other countries: $60 for one year. Subscription Services: ELLE DECOR will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. For customer service, changes of address, and subscription orders, log on to service.elledecor.com or write to Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. From time to time, we make our subscriber list available to companies who sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please send your current mailing label or exact copy to Mail Preference Service, P.O. Box 37870, Boone, IA 50037. You can also visit preferences.hearstmags.com to manage your preferences and opt out of receiving marketing offers by e-mail. ELLE DECOR is not responsible for unsolicited manuscripts or art. None will be returned unless accom-

A FAMILY AFFAIR PAGES 170–175: Interior design by Garance Aufaure (garance.aufaure@icloud.com).

186 ELLE DECOR

PAGE 182: Chaise longue upholstered in fabric, to the trade from Pierre Frey. Gueridon from Galerie Sylvain Lévy-Alban.

panied by a self-addressed stamped envelope. Canadian registration number 126018209RT0001. POSTMASTER: Please send address changes to ELLE DECOR, P.O. Box 37870, Boone, IA 50037. Printed in the U.S.A.

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