Ac­cents of gold in tex­tured and shiny fin­ishes el­e­vate the sub­dued pal­ette and re­flect the abun­dant light in this el­e­gant and so­phis­ti­cated Paris apart­ment.

Belle - - Melbourne Home - Pho­to­graphs STEPHAN JULLIARD Words IAN PHILLIPS

The rst email the owner of this apart­ment on Paris’s Left Bank sent to dec­o­ra­tor Anne-so­phie Pailleret was some­thing of an en­treaty. It was sim­ply en­ti­tled ‘Help’. She had pre­vi­ously hired two other in­te­rior de­sign­ers, nei­ther of whom had worked out. Then, she came across a pub­li­ca­tion fea­tur­ing Anne-so­phie’s own apart­ment and re­calls that it was a case of love at rst sight. “I found it chic, serene and har­mo­nious,” she says. “In her choice of ob­jects and fur­ni­ture, there was noth­ing ob­vi­ous or ba­nal.”

Anne-so­phie came to her cur­rent pro­fes­sion via a slightly cir­cuitous route. She ini­tially worked in mar­ket­ing for Cartier and then be­gan a job cre­at­ing ephemeral set­tings for a Parisian cater­ing rm. Among the events she worked on were the 60th an­niver­sary of the Chris­tian Dior fash­ion house and the wed­ding of a mem­ber of the Qatari royal fam­ily. “We spent three months build­ing a sort of palace for Marie-an­toinette in the mid­dle of the desert,” she re­calls. Then, she stud­ied in­te­rior de­sign at the pres­ti­gious École Boulle in Paris and worked for lead­ing French dec­o­ra­tor Jean-louis De­niot be­fore set­ting up her own rm. Among her aes­thetic in uences are the art deco move­ment and Jean Royère. “I re­mem­ber car­ry­ing around pho­tos of his work in my purse at the age of 13,” she says. She also loves the slightly “crazy, over-the-top” de­sign of the 1970s.

For her client, a Florence-based artist, this 168sqm top- oor apart­ment serves as a pied-à-terre and a midway point where she can meet up with her hus­band, who works in nance in Lon­don. Ini­tially, the cou­ple hes­i­tated be­fore buy­ing the prop­erty. True, they were at­tracted by the typ­i­cally Hauss­man­nian build­ing, the pro­fu­sion of south-fac­ing win­dows and the qual­ity of the ar­chi­tec­tural mould­ings. “As a sculp­tor, it would be dif cult for me to live with­out any dec­o­ra­tion on the ceil­ing,” says the wife. Yet, they were put off by a num­ber of rather crookedly-shaped rooms and “a very eerie cor­ri­dor – long, high, nar­row and ex­tremely dark”. Anne-so­phie reme­died the prob­lem by en­larg­ing

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