Bri­tish style is served with an in­sou­ciant French twist at Lon­don’s lat­est bou­tique ad­dress, the Hen­ri­etta Ho­tel

ELLE Decoration (UK) - - Style Colour - Words JACKIE DALY Pho­tog­ra­phy KAREL BALAS/VEGA Pro­duc­tion KARINE MONIÉ

There is some­thing dis­tinctly ‘Lon­don’ about the Hen­ri­etta Ho­tel,

the bou­tique ad­dress that opened its doors in Covent Gar­den ear­lier this year. Per­haps it’s the clink of glasses and hum of chat­ter at the bar that draws you into the space; or maybe it’s the black tie sported by its staff, with their hip­ster beards and wide smiles. Yet it was French de­signer Dorothée Meilich­zon (above) of Paris-based stu­dio Ch­zon (the cre­ative be­hind Paris’s Ho­tel Par­adis, Grand Pi­galle, Ho­tel Bachau­mont and Ho­tel Panache) that con­ceived its aes­thetic.

The 18-room Hen­ri­etta Ho­tel, owned by Ex­per­i­men­tal Group, is Dorothée’s first ho­tel in Lon­don, and an homage to her love of the cap­i­tal. It oc­cu­pies the foot­print of two 19th- cen­tury town­houses – one a slen­der sand­stone build­ing that fa­mously housed the of­fices of Vic­tor Gol­lancz (which pub­lished the works of George Or­well, Kings­ley Amis and John Le Carre), and the other re­splen­dent in red brick and ter­ra­cotta. ‘The colour of the build­ings along Hen­ri­etta Street, where the ho­tel re­sides, in­flu­enced the in­te­rior pal­ette,’ says Dorothée. ‘As we are very close to the Covent Gar­den Mar­ket [once home to bustling flower stalls], I also added lots of flora and fauna de­tail­ing, such as the hand-painted tigers on the ceil­ing and the herbar­ium framed on the walls.’

In­deed, the pal­ette in­side the ho­tel is a bou­quet of un­ex­pected shades that all work well in com­bi­na­tion: pale pink and light blue, dark navy, faded blue, emer­ald green, mil­i­tary green, washed-out red and a very light grey. No­tice­ably ab­sent is any kind of white. There are also flashes of wall­pa­per from Bri­tish her­itage brand Cole & Son. The restau­rant, man­aged by renowned Bri­tish chef Ol­lie Dab­bous, sits be­neath a glazed roof, while a wall of ter­ra­cotta tiles and jewel-toned vel­vet seat­ing is teamed with 40 in­di­vid­u­ally se­lected ‘Cari­mate’ chairs, de­signed by Vico Mag­istretti.

The choice of ma­te­ri­als el­e­vates the aes­thetic: brass, Car­rara mar­ble, wool, lime wood, silk, vel­vet, brushed alu­minium and ter­ra­cotta. ‘They are pre­cious, but also sim­ple,’ says Dorothée. ‘I de­signed four dif­fer­ent head­boards that ref­er­ence the Vic­to­rian ar­chi­tec­ture and un­usual roof shapes of lo­cal build­ings,’ she says. ‘They are made of wood, bev­elled mir­rors and fab­ric pan­els.’

Three prin­ci­ples dic­tated the de­sign of the suites: func­tion, el­e­gance and warmth. This trans­lates as brass bed­side light­ing, ter­razzo- pat­terned car­pets and 1970s- style arm­chairs with alu­minium bases in­spired by French fur­ni­ture de­signer Pierre Paulin. In the pink bath­rooms, the oc­tag­o­nal floor tiles by French brand Winck­el­mans were pro­duced to Dorothée’s spec­i­fi­ca­tion. A Bri­tish con­nec­tion reap­pears in the form of nickel-fin­ished taps by Le­froy Brooks. ‘I wanted to cre­ate a Bri­tish at­mos­phere, but with a mix of el­e­ments from dif­fer­ent eras, some­thing a lit­tle dif­fer­ent from the norm in Lon­don,’ says Dorothée. ch­

Bath­room ‘Pink Ground’ by Far­row & Ball is a good match for the colour of these walls. The curved shape of the mar­ble van­ity unit, de­signed by Ch­zon, echoes the soft ge­om­e­try used through­out the ho­tel. The wall-mounted crosshead taps are by Le­froy...

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