Exhibition AD Intérieurs 2019 – From September 4 to 22


Bearing the name of the magazine that designed it, and held in a private mansion, lhôtel particulier Coulanges in the Marais, the 10th edition coalesces under the theme of metamorphosis, allowing a wide audience to discover decors designed by the great interior architects of the moment. Each talent chosen embodies a strong current of contemporary decoration between minimalism, romanticism and exuberance. Each of them has been assigned a room where they express their style through the know-how of the partners who represent the jewel of French craftsmanship. For this edition, La Maison Pierre Frey is present in five decors that give pride of place to inventiveness, fantasy or classical rigor. Fabric is by nature a material that can be shaped as desired.

The proof in five white cards.

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Between Art Deco palace and Palladian villa, the bathroom designed by the agency presents a beautiful dichotomy between rigor and softness through the subtle choice of materials and shapes that complement and respond to each other. The green marble bathtub and the very sculptural brass shower-cage bring strength and vigor to this space while the Balthazar terra cotta velvet adds a touch of sensual color. By elegantly filtering the outside light, the Candice veil helps to create an ethereal atmosphere.

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This conversation is about travel and mixing. Inside and outside, past and future are intertwined in this hybrid space. The Empire green lacquered sheet metal wall panels evoke the mythical railway cars while the historic armchairs dating from 1920 or the carpet signed Suzanne Lalique refer to their interior layout. The colorful silks on the ceiling symbolize the rebirth of L’Orient-Express as a hotel brand that will inaugurate its first address in Bangkok in 2020.


Maison Pierre Frey is omnipresent in this décor, having provided many fabrics and custom-made furniture: a Tours canvas named Ingrid, woven in our workshops in northern France, covers the walls; a floral print where the Orient-Express logo plays hide and seek in the foliage; the Emilie and Colombia armchairs, made in our workshop in Villers-Cotterêts.

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Influenced by the melancholic surrealism of Giorgio De Chirico’s paintings, Anne-Sophie Pailleret designed a workspace dominated by the curve, present in the arches surrounded by wood along the walls and in the shape of the sculptural onyx desk. Raffia flooring, smoked larch windscreen, embossed leather ceiling tiles, and Pierre Frey velvet curtains create a textured and warm interior in brown shades, Sienna clay and cognac punctuated with touches of white, especially in the canvas cushions of Kenya Towers.

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The conservatory – Pierre Gonalons


Pierre Gonalons presents a graphic but poetic reinterpretation of the interior garden as conceived in the 19th century. Embossed wallpaper strips, a tile flooring combining checkers and cabochons as well as curtains of striped pearls structure the room. Pierre Frey fabrics add a figurative touch to the furniture designed by the interior designer himself. A happy mix between Art Deco geometry and a revisited 18th century.

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A collector’s living room – Pierre-Yves Rochon


The decorator opts for a range of distinct colours, white, black in a graphic spirit to highlight a particular imaginary collection. An immaculate patina modernizes the design of the Art Deco woodwork decorated with bas-relief. On the large black Portor marble table is a selection of sculptures from various periods and styles. This taste for blends is also reflected in the use of pedestal tables from the Directoire period alongside iconic pieces of 20th century design and the Boniface sofa, which invites contemplation.

La Maison Pierre Frey and Paris Design Week, from September 5 to 14


In recent years, Paris design week has become the must-see cultural event of the season, presenting Paris under the prism of innovation. Artists, designers, galleries and others in the decoration industry present their creations during exhibitions, ephemeral or permanent installations. The main theme of this 9th edition is “Hybrid”. With a thousand interpretations, the visitor is encouraged to immerse himself in a variety of worlds. This theme is particularly appropriate for Pierre Frey as the eclecticism of their collections offers a plethora of transformations. The Maison eagerly participated by presenting its collaboration with Christian Astuguevieille in its right bank showroom and by contributing to various events in Paris.

An overview of a crazy week……

1 – Exhibition “Marbled – 14 Marble Designers” – Maison Dentsu -From September 7 to 14


Starting from the old expression of the French language “Il est bien marbré(e)” used to describe a person who could be described as original, curator Thomas Erber invited 14 designers, decorators or architects including Tristan Auer, Isabelle Stanislas, Ora Ito, Franklin Azzi, Mathias Kiss, Florence Louisy, to name a few, to present their exclusive marble pieces. The strong personality of each participant and the extraordinary know-how required by this material generate unique pieces in which eccentricity only reflects the excellence of the implementation.

Pierre Frey participated in this exercise by presenting the vinyl wall covering designed by Mathias Kiss, Portor, available in 5 colours. Used to set the rhythm of the scenography, this trompe-l’oeil is played with facetiousness of our perception of this noble material and elegantly blurs the lines between truth and false pretenses.

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2- Maison & Object - 06 – 10 September 2019

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As creator of the year, interior designer and designer Laura Gonzalez has taken over the signature café at the show. Through a superb staging, she presents her new line of furniture. In a decor with shapes, colours and materials that only the architect could combine, the know-how of Pierre Frey’s house is highlighted in a space where the atmosphere mixes the rounded shapes of the furniture pieces and the bright colours of the Braquenié fabrics as well as a wallpaper created especially for this key event in decoration.

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Wherever the eye settles, something happens, as the designer likes to say.


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3- Pierre Frey – showroom window on the right bank

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“Hybrid” is the main theme of this 9th edition of the Paris design week. The collaboration between Pierre Frey and the artist Christian Astuguevielle is a perfect illustration of this with the launch of a collection where the past and present inextricably linked gives life to original fabrics and wallpapers. The artist used old Jouy paintings as a support on which he came to paint signs, a real pictorial language. The striking contrast between this contemporary artistic writing, abstract with thick lines, created in India ink and the meticulous 18th century motifs printed on a wooden plate or copper plate is the highlight of a de-complexed decoration.

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The shells, 18th century chimeras invented by Christophe-Philippe Oberkampf, chosen by Christian Astuguevieille, show us how timeless the theme of transformation is and continues to stimulate our imagination.

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4- Exhibition AD indoor 2019 – From September 4 to 22 – To be continued in a future article….

La Maison Pierre Frey decorates Galeries Lafayette


On March 28, 2019, Galeries Lafayette opened its latest store at 60 avenue des Champs Elysées.

After 90 years of absence, the department store has taken hold of the most beautiful avenue in the world, offering a new approach to shopping that is more intuitive and connected with today’s world.

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A cosmopolitan clientele, either Parisian or international but very sophisticated, will discover a 6500 m2 glamorous and luminous space of restrained luxury, staged by the BIG Agency. Inspired by the architectural strength of the building, the architect organized and decorated the premises in the manner of an art installation, allowing the display of items for sale but also enticing the visitor to sit, discuss, linger and move between the modules as in a labyrinth.

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Galeries Lafayette has chosen to decorate with Maison Pierre Frey in particular areas of these spaces. A soft carpet covers the fixtures displaying the shoes, other carpets in soft and warm tones of graded pink and red adorn the floors, walls and ceilings of the fitting rooms on the first and second floors.

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The thick and soft velvet of Teddy mohair, woven especially for the occasion in two new colours, covers the cases of the long honeycomb wall dedicated to sneakers. And finally, the curtains in the VIP lounge are made of Enzo velvet by Fadini Borghi.

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At Galeries Lafayette des Champs Elysées, everything is staged to offer customers a unique and warm experience, in contrast to that of the boulevard Haussmann.

In this innovative store of the 21st century, the codes of a concept store have been reinvented on a large scale.

Pierre Frey has a date with History / 3 – Chateau de Chambord – France


Living at the court of Francis I !


The chateau wanted to put King François I, Chambord’s sponsor, back in the centre of the visit and restore the itinerant atmosphere of the court at the time.
Until 1682, when the king settled in Versailles, the monarch was a nomad, moving from one royal residence to another. The Royal Stewardship was responsible for providing and transporting furniture, tapestries and textiles of all kinds.
What could be more natural, then, than to apply fabrics to the walls and replace period furniture to recreate the monarch’s living environment at that time?  The visitor gets the unique experience of becoming the king’s guest.

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Following an earlier successful collaboration with the Louvre Museum, Jacques Garcia, patron of the new decor, again came to Pierre Frey to supply the fabrics found in the entrance to the castle and the theatre.

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The entrance to the castle evokes the life of the court during the Renaissance. At that time, the walls were covered with carved velvet and silk damask. Due to current safety standards, the silks have been replaced with fireproof fabrics and Pierre Frey has printed designs from the time on fireproof velvet. Sixteen panels with a height of 5.50m, alternating in vertical stripes, were made.
Thus, the original spirit is recreated through the choice of designs and the plushness of the velvet.

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The Sun King resides in Chambord on several occasions. His stays are an opportunity for great hunting and entertainment. Molière first presented two of his famous comedies here: The Bourgeois gentleman and Monsieur de Pourceaugnac.

théatre Chambord

In the theatre, the stage and its curtain feature a lily pattern fabric and a coordinated jasper plain. In trompe l’oeil, a lampas from the late 17th century, with a gold thread decoration on a jaspered background was printed on a fireproof satin.

Gilles et Boissier’s “Les Trois Soeurs” capsule collection for Pierre Frey


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Interior designers Dorothée Boissier and Patrick Gilles are very inspired by artists, nature and objects that have a story.
Knowing their passion for old documents, Pierre Frey, having worked with them on various projects, has opened its heritage collection to them, in which they gleefully immersed themselves, selecting three fabrics for which they have imagined a capsule collection.

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The “Les Trois Sœurs” collection reveals three rich fabrics. A jacquard cashmere Napoleon 1st, a brocaded lampas from the 18th century and an English chintz from the beginning of the 20th century, whose patterns and colours have been revisited. Three eras, three techniques, three distinct styles whose choice underlines the singularity of Gilles & Boissier’s ideas and the artistic eclecticism that defines the Maison Pierre Frey.

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Monochrome, beige, white, Dorothée Boissier and Patrick Gilles clearly prefer materials to colour.  The colours of this capsule collection in wool, silk and cotton are soft, all in shades of beige, grey green or denim blue.

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A raw cotton is chosen for the weft to preserve its natural appearance under the icy effect of chintz, the originality of the lampas lies in its finely chiselled satin background and the natural wool, marked with great flexibility, is carefully chosen and woven in the Pierre Frey workshop in northern France.

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Through this capsule collection, we can see the ardor of Maison Pierre Frey to put its technical know-how at the service of artists, allowing them to tailor the constraints of weaving or printing with precision to achieve to their creative wishes. This perfect mastery gives the artist exceptional freedom and, as Dorothée Boissier states, “it is important to feel completely free to create”.

Pierre Frey has a date with History / 2- Hauteville House, Victor Hugo house – Guernsey


A writer in his interior

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The house in Guernsey gave shelter to Victor Hugo during his exile between 1856 and 1870.  Those fifteen years prove decisive in building his reputation as a committed and rebellious writer.
Hauteville House, located on the heights of Saint Peter Port in Guernsey, is a “true three-storey autograph, and a poem in several rooms”, as his son Charles wrote.

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The renovation project, which began in April 2018, allowed us to restore the appearance of the house and its decorations to reflect the design conceived by Victor Hugo himself. This residence, more than a place of memory, is a masterpiece of restored decorative art.



Letters describing the orders placed by Victor Hugo with the Maison Braquenié convinced Mr. Audinet, director of Victor Hugo’s home, to call on Pierre Frey to participate in the restoration in order to faithfully capture its original spirit.

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Research was based on old photos of the site and textiles that are still in place. For the first fabric, a 17th century damask and a 20th century reweave, identical in every aspect to the one used by Victor Hugo, were found in our archives. For the second fabric, the original was quite deteriorated making it difficult to
discern.  La Maison Pierre Frey proposed a two-tone damask with similar decorative effects. The original color was replicated by custom-dying the yarns to match a tiny sample recovered within the seam where it was protected from the light.  The colourful atmosphere of the salon of the time was thus restored to resemble its original décor, with one small exception: the replacement of the original silk fabric was woven with a fireproof fibre in order to meet the current safety requirements for a public space.

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To complete the project, Pierre Frey was also asked to reweave the edge of the carpet, which was in too poor a condition to be reused.

The third place, “Chateau de Chambord – Loire Valley”, is to be discovered in the next newsletter!

Pierre Frey has a date with History / 1- Elise Djo-Bourgeois at Villa Noailles


Known for its eclectic and contemporary collections, Maison Pierre Frey
nevertheless cultivates a strong attachment to the past and to tradition.
For Patrick Frey, understanding the past helps to understand the future.

Through their Archives department, created in 2003 and consisting of more
than 30,000 documents, it is committed to reviving and sharing a heritage
common to all.  Thanks to its know-how and perfect mastery of techniques,
in a relatively short time this fabric editor has become a privileged partner
of museums and an active participant in French cultural life.

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Ainsi, sans préjugés d’époques ou de styles, la Maison Pierre Frey participe à de nombreux événements, par la biais de prêts d’archives ou de fabrications spéciales, permettant au grand public de revivre des pans de notre histoire, de la Renaissance au 20 ème siècle.

without favor for a particular period or style, the Maison Pierre Frey participates in many events through the loan of archival documents or special reproductions, giving the public an opportunity to experience parts of our history, from the Renaissance to the 20th century.

Proof in three places, three eras, three experiences :

Exhibition Elise Djo-Bourgeois – “Sur le motif” (6 April- 16 June 2019) at the Villa Noailles (Hyères, France)

Portrait d'Elise Djo-Bourgeois

A woman artist in the 1920s

When Pierre Frey purchased Lauer in 1995, he discovered design treasures produced in the 1920s by a group of exceptional artists: Lalique, René Prou, Burkhalter, Sue and Mare and, of course, Elise Djo-Bourgeois.

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Little known to the general public, this designer of patterns for fabrics and carpets used brightly coloured geometric shapes as her pictorial language. Her career is closely linked to that of her husband, Georges Bourgeois dit Djo-Bourgeois, architect and decorator, known for his interior design, boutiques, apartments and villas such as Villa Noailles in Hyères. The premature death of her husband when he was not even forty years old put an end to their respective careers, causing their work to be forgotten.

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Contactée pour identifier des tissus sur des photos noir et blanc des années 1920, la maison Pierre Frey a très vite envisagé de prêter un nombres importants de documents en sa possession, conçus par Elise Djo-Bourgeois : Quarante-neuf archives, textiles imprimés, déclinés en une multitude de coloris, un recueil d’empreintes ainsi qu’un livre regroupant des photographies anciennes de tapis. Ces archives ont permis de redonner vie aux décors imaginés par le couple. Les textiles aux couleurs éclatantes d’Elise venant contrebalancer l’image un peu austère que les photos en noir et blanc laissaient imaginer.

Contacted to help identify the fabrics seen in black and white photographs from the 1920s, Pierre Frey very quickly agreed to lend a large number of documents designed by Elise Djo-Bourgeois that are in its possession,: 49 archives, printed textiles in a multitude of colours, a collection of prints and a book containing old carpet photographs. These archives have given new life to the environments imagined by the couple. Elise’s brightly coloured textiles counterbalance the austere images that the black and white photos suggest.


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A sponsorship accompanies this loan with the reprinting of a design by the
artist on a cotton percale that completes the scenography and shows the
use of fabrics as Elise Djo-Bourgeois had imagined.  For authenticity, the imperfections caused by the original printing process, known as wood plate printing, have been reproduced on the reissue.

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Part of this archival collection held by Pierre Frey was presented during the exhibition Couples Modernes at the Centre Pompidou Metz, where the couple of Djo-Bourgeois decorative artists also had their place residence.

The exhibition “Sur le motif” at Villa Noailles is the third exhibition to explore the little-known and cloistered work of Elise Djo-Bourgeois since 1937.

The second place, “Hauteville House, Victor Hugo’s house in Guernsey”, is
to be discovered in the next newsletter!




Nicknamed the King of Fruits, the pineapple has been the object of fantasies since their discovery in 1493.


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 Originally tasted only in candied form due to the length of transport, Europeans first discovered its true flavour at the end of the 17th century when gardeners finally managed to acclimatize it in the West.



From then on, its oval shape and crown of leaves have never ceased to seduce artists and draftsmen and constitute timeless decorative elements.

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Once again, from the latest collections of the maison Braquenié, the pineapple is used in several printed fabrics, épinglés, linen damask, velvet and wallpaper.

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The strength of the colours and materials brought up-to-date in Comptoir d’Orient and Compagnies des Indes, give an undeniable contemporary twist to pineapple motifs from 18th century documents kept in the house’s archives.





Four centuries after its arrival in Europe, it seems that the enthusiasm for the King of Fruits is not about to wane.”




Let’s discover the history of 47, an emblematic place for Pierre Frey who, after starting out on rue des Jeûneurs, moved to 47, rue des Petits champs in 1937 and never moved again.

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Giovanni Battista Lulli

The adjoining buildings at 45 and 47 rue des Petits Champs were built between 1671 and 1682 on behalf of Giovanni Battista Lulli, superintendent of royal music. Built by the king’s architect, Daniel Gittard, a student of Louis Le Vau. These two buildings are located near the Louvre and the Palais-Royal where the Royal Academy of Music is located.

It first served Lulli as his main residence. Looking up, we can still note some decorative elements of the façade that remind us of the activity of its illustrious owner.

Lulli rented it for 1600 French Pounds a year. An adviser to the king in parliament, the Baroness of Thoré and even the Marquise de Saint-Germain Beaupré, reportedly resided there.

Optical illusion of the stonework

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The façade is characteristic of the most beautiful classical architectures of the 17th century. Made of ashlar, it extends over five visible levels and the last one slightly recessed. The first level consists of a trompe l’oeil of stonework, a reminder of the first level of Lulli’s main residence and the most beautiful Florentine palaces of the Quattrocento. This practice was common in the 17th century. The false joints were painted in a slightly darker colour to give rhythm to the facade and imitate the elegance of the ashlar. The axial symmetry is marked by a carriage gate topped by an arched keyway. Originally, this door gave access to an inner courtyard that has now disappeared.


French classicism

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At that time, architecture was more than a housing project, it had to serve the glory of France like all the Arts. Daniel Gittard returns to the ancient aesthetic and creates a regular facade that brings balance. The upper levels have smooth dressed stone walls, marked by straight lines that give it a beautiful sobriety. The noble floors are pierced with large openings that allow ample light to penetrate. The work on the railings is a fine example of the art of ironwork of the time.

The staircase

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Let’s push open the carriage door of this building to discover the history of this place which has never stopped reinventing itself as the House has evolved. Pierre Frey first occupied the first floor before gradually becoming the owner of the entire building. The spaces were used for different purposes: showroom, offices, accessory shops on the ground floor and now become the House’s headquarters.

The wooden staircase has survived the vicissitudes of time. Rising to the left in the old courtyard, it serves all the floors. The wrought iron railing has a simple and elegant design. Each level is composed of a floor in terracotta tiles with a geometric pattern.

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Number 47 is more than an address, it is part of our identity!

Pierre Frey stages the Christie’s “Collector” sale



For its next sale “The Collector: English & European 18th & 19th Century Furniture, Ceramics, Silver & Works”, which takes place in New York on April 9, 2019, Christie’s asks Pierre Frey to imagine a staging highlighting the furniture and objects of the sale, by associating it with the latest collections of fabrics and wallpapers from the Maison whose name it bears.


Pierre Frey, loves eclecticism. Mixing styles and periods, creating a subtle mix and match, not focusing on perfection, give, according to him, more strength and character to an interior. He proposes to combine fabrics and wallpapers from 18th century archival documents with contemporary motifs inspired by travel and to mix velvet and printed fabrics, weaves and multicolored embroideries.


To express his way of seeing the decoration and recreate the atmosphere of a real interior, Pierre Frey chooses from among the many majestic pieces offered for sale and sets his heart on classic silverware cutlery, which he can use with his contemporary dishes, a particularly unexpected flamingo that should please his children, mirrors, of which he is very fond, large antique carpets that always have a lot of effect and marble busts, pieces for which he could start a collection!


All the elements are combined to offer an astonishing staging, an extraordinary setting for a prestigious auction.



Exhibition AD Intérieurs 2019 – From September 4 to 22

read more

La Maison Pierre Frey and Paris Design Week, from September 5 to 14

read more
Redimensionnement de Delfino Sisto Legnani - Marco Cappelletti (4)

La Maison Pierre Frey decorates Galeries Lafayette

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