Hotel Caron de Beaumarchais, Paris : a tribute to Braquenié fabrics


Toile de Nantes Pierre FreylegRoses et pivoines Pierre Freyleg

Hôtel Caron de Beaumarchais : a tribute to the classical drapery of the House

Pompéi from Le Manach, Toiles de Nantes from Pierre Frey, Comtesse de Mailly from Braquenié… This Hotel located in the heart of the Marais district is a precious case away from the noise of contemporary Paris. The place pays a true tribute to 18th century fabrics whose refined motifs give life to the rooms. The atmosphere that emerges is that of the Paris of the “Grands Siècles”: an historical proposal that carries us away, for the pleasure of the eyes. The Hotel Caron de Beaumarchais offers the occasion to cut ourselves off from time to dream about being a count or a countess, for a weekend.


Pompei Lemanachleg Comtesse de Mailly Pierre Frey leg Papillon Orange Freyleg Papillon orange pierre frey leg Papillon Crême P Frey Collection Comoglioleg Papillon Bleu P Frey Collection Comoglio leg Rocaille LemanachCaron de Beaumarchais Hotel, 12 Rue Vieille du Temple, 75004 Paris, FRANCE.

IG @hotelcarondebeaumarchais


Photos ©Alain Bigeard



From June 28th to July 1st this year was the third edition of the Interior Architecture Design Parade Festival organized by the Villa Noailles in Toulon. During a month, an old bishopric in ruins has been entirely renovated by the 10 candidates to the competition. Each of them invested then a room to propose an exclusive and singular decor. Several projects have solicited the House of Pierre Frey as partners for the fabrics in their set designs.

Therefore, among the 3 different awards given by the Festival, 2 of them have been featuring one or more references from our House in talented and fabulous ways. This third edition of the Interior Architecture Design Parade Festival, amazing, impacting, successful, signs a promising new generation for the decorators of tomorrow!


The First Price (ex-æquo)

Kim Haddou &Florent Dufourcq, “Giotto”

It is a library / reading room that the duo has conceived. Poetic, light and delicate, the space breathes. The “Colibri” curtains give a soft light. The most important piece of the room is the library, niches dug out of the wall that the owner has to excavate to place the objects and books collected over the years, “thus modeling with his hands the case of his memory” conclude the architects.


drawing of the project 

Kim Haddou Florent Duffourcq1 - Lothaire Hucki © villa Noailles, 2018

 Pierre Frey “colibri” curtains


The Special Mention Eyes On Talent x Frame magazine

Bérangère Botti & Sophie Genestoux, “En Trompe-l’Oeil”

It is a meditation space “with enigmatic depths” imagined by the two architects. Located away from other rooms, on the ground floor, the place soothes by its apparent stripping. Tiles of white enamel from the ground to the walls, it is necessary to penetrate to realize that a second space calls the gaze beyond the arches which draw on the ground opaque shadows. This trompe-l’oeil suddenly offers a rich and deep horizon to contemplate, dark blue, with random glimmers. The wild silk curtain Albertine and silk Eco placed on the Daybed bring touches of brilliance or roughness in a subtle space in the smallest detail and extremely refined.

Berengere Botti Sophie Genestou 7 - Lothaire Hucki © villa Noailles, 2018leg

 Pierre Frey “Albertine” silk curtains
Berengere Botti Sophie Genestou20 - Lothaire Hucki © villa Noailles, 2018Eco” Fadini Borghi on the Daybed


Lucas Djaou, “A l’heure de la sieste”

The space of the young Lucas Djaou is a place where it is good to be. Warm, it is the crossing of meetings and collections of the architect according to his travels. It is a place of culture “where to feed the beauties of the world”. Lucas Djaou has thus collaborated with many artists and craftsmen around the world to give birth to this room, made up of an entrance part with bright orange walls, place of exchanges and dialogues, and a more dark and recessed where a daybed invites to laze. With mischief, the architect has taken advantage of the large color variation offered by the linen “Cheyenne”, making cushions that bring a cheerfulness to the room.


drawing of the project by Lucas Djaou
Lucas Djaou16 - Lothaire Hucki © villa Noailles, 2018leg
 ”cheyenne” linen for the cushions

Images ©Lothaire Hucki for the Villa Noailles





Located in the sixteenth district of Paris, this private apartment designed by interior architect Isadora Viquel puts in the light “Pampa”, one of the most famous print of the House, in a bright, surprising and elegant bathroom.

“It’s a little boudoir, we are traveling in this room. I like the contrast between the wild pattern printed on the fabric and the sobriety of marble and the nobility of the parquet flooring”. Isadora Viquel does not hesitate to shake up the established codes and bring the bathroom where we do not expect it. The room is clear and spatious. The surprising combination of mineral marble on the walls with the curtains and the wood flooring add a very warmful sensation to the space, giving it the true aspect of a “living space”, or “space to live”. We want to stay there. The use of mirrors also helps to open up the place feeling luminous, airy, welcoming.

Isadora talks about her choice Pampa fabric as an evidence. “It brings the retro side that the Vintage furniture from the 50′s (bench and chair) complete in the decor”. Without a doubt, the textile has an important role to play in interior decoration. Drawn or geometric, it strongly influences our feeling of the space. The power of the colors or the narrative dimension, the transparency, the movement, the touch, all in one impregnate the space with delicacy, in contrast with the right angles and plans induced by the architecture.

“I would like my work to remain very identity-based and it is partly thanks to the choice of strong fabrics that it will be so! ”



Pampa print is used for the curtains as well as for the upholstery of the seats.
White marble and mirrors  make the bathroom bright
photograph ©Sébastien Dondain
FP395001-Pampabd“Pampa” printed fabric, ©Pierre Frey


“Le Grand Génois” in the spotlight in Vogue magazine


“This Textile Has Been All Over Vogue—Here’s Where It Came From”. This is how Lilah Ramzi starts her article in Vogue Magazine, highlighting the famous Braquenié textile by describing every detail of its motif and showing the best places it is set off.

00-story-image-tree-of-life-textileCaroline Sieber’s library-like dining room features a window treatment with Braquenié’s Tree of Life. Photographed by Oberto GiliVogue, December 2015

Taking the words of Lilah Ramzi, let’s go back on an emblematic Braquenié fabric.

A historical motif

The Tree of Life has enjoyed popularity for centuries all over the world. This textile motif of twisting branches sporting multiple species of fruits and vegetables refers to several meanings. Biblically, as Lilah Ramzi writes, the tree recalls a version described in the Book of Revelations, which ripens with a different fruit each month of the year – another interpretation is the tree from which the forbidden fruit was plucked. The journalist also teaches us that in Chinese mythology, the motif is often depicted with a phoenix and a dragon ; potent symbols of reincarnation and immortality. It is underneath a tree that the Buddha attained Enlightenment. In any time and any places, this tree of life is a dazzling sight in all its incarnations.

01-tree-of-life-textileA slipper chair and pillows in Carolina Irving’s living room feature the famous print. Photographed by François HalardVogue, October 2006

French 18th-century taste for “eastern” exotism

In the 18th century, France was the “Mecca” of the textile industry, explains Lilah Ramzi. Each region had its excellence in a specific exceptional know-how. Lyon was perfecting the silk farming techniques while Paris’s famous Gobelins Tapestry factory was producing magnificent commissions from the French court. The town of Jouy was renowned for its successful block printed cottons with genre scenes, known as “toiles de jouy”. At that time, a craze for exoticism in the decorative arts reached a fever pitch. Textiles were littered with pagodas and conical hats catering to growing tastes for Japonism. Even in fashion, chintzes lush with pomegranates and lotus flowers à la Indiennes were everywhere on the skirts and dresses of that time. Indeed, the “east” was mined for inspiration and the French went wild recreating foreign motifs locally. This is in that context that, as Lilah Ramzi introduces, Alexandre and Charles-Henri Braquenié of the famous textile company Braquenié led the pack, one of their most iconic patterns features the symbolically charged beloved tree of life.

02-tree-of-life-textileThe walls of a guest room in Gela Nash-Taylor’s sprawling 15th-century estate in Wiltshire, England are decorated with the print. Photographed by François HalardVogue, September 2009

The famous Braquenié “Le Grand Génois”

Le Grand Génois is set on a pale background, where a tree climbs upwards, its wispy branches decorated with sprays of jade-colored leaves and silhouettes of lotus flowers, petals fanning out like the feathers of a peacock. Very famous and synonymous with the identity of Braquenié House, this motif was actually a copy – sometime in the late 18th century, the Braquenié brothers saw it printed on an Indian palampore and reproduced it for the local market ! Nonetheless, they slightly modified the pattern construction to accomodate French design sensibilites. The tree motif is unchanged from the original inspiration textile, printed by wood block, painted and dyed, but as Braquenié textile archivist Sophie Rouart explains, “they isolated elements to create borders and field designs that could also be applied to walls, so one pattern can envelope a room”.

03-tree-of-life-textileDaniel Romualdez pays homage to Le Jonchet in the master bedroom of his Connecticut home. Photographed by Oberto GiliVogue, October 2012

The Tree of life among places

For years, Vogue Magazine has been featuring places where the pattern appears. In the homes of Caroline Sieber, Daniel Romualdez, Carolina Irving, Gela Nash-Taylor, the tree of life fits into the interiors. According to Lilah Ramzi’s article, the textile’s most divine application in recent history and decoration is undoubtedly found at the late Mr. Hubert de Givenchy’s moated 17th-century estate, Le Jonchet, located just outside Paris in Beauvais. Givenchy filled his castle with furnishings by Diego Giacometti (brother of Alberto) and paintings by Joan Miro, and kept the garden grounds as manicured as the society swans he dressed throughout his fashionable life. Most famous (and most photographed) is a room that appears a visual ode to the tree of life. Every upholsterable inch – walls, chair backs, a bed and its canopy – was swathed in Le Grand Génois  for the most marvelous print-on-print decor scheme that inspires the use of the double-handed praise emoji. A stunning place, as you can see below.

04-tree-of-life-textile-Hubert de Givenchy’s brilliant allover use of the textile at Le Jonchet, once the country estate of the designer. Photographed by Karen RadkaiVogue, October 1982

A timeless and eternal motif

Years after years since the first Vogue’s publication in 1982 (about Le Jonchet), images of Le Grand Génois were published from other interiors featuring the Braquenié classic. Of the textile’s ability to transcend time and our wavering tastes for bold patterns, Sophie Rouart says, “First of all, it is spectacular. It is like a painting because you have a frame with the border that remains white”. Perhaps the tree itself, long held as a symbol of eternity, has something to do with Le Grand Génois‘s endless appeal. And Lilah Ramzi to conclude : “little dit the Braquenié brothers know how long this tree would live…”

Since la Maison Pierre Frey acquires Braquenié in 1991, a point of honor is made to preserve the richness of Braquenié printed archives, continuously produced, updated, and to perpetuate the traditional and ancestral techniques of a unique know-how from the 18th century with unequaled quality.

B756A001 V2Le Grand Génois
Many thanks to Lilah Ramzi. All images are from ©Vogue Magazine. To read her full article:

Cassio Club, an unseen vintage twisted place in Hong-Kong upholstered in Pierre Frey



Designed by Paris-based Italian designer Fabrizio Casiraghi, Cassio Club is a new must-see place in central Hong Kong. The city has seen the opening of many restaurants recently but this one is already considered as one of the most creative spot in town.

Fabrizio Casiraghi has transformed the second floor of a building into an exclusive restaurant that turns into a club at night. The challenge for the architect was to define both a restaurant, a club and a terrace while maintaining a natural flow in the wide area. F.Casiraghi used his well-known talent for blending different design styles to create this unique 1950s French Riviera-inspired music lounge and tapas restaurant. The place appears unexpected, far from the East-meets-West cliché, mixing different textures and materials such as bamboo, textiles and brass, dark wood and bottle-green lacquer.

‘I think this is something that was missing in Hong Kong: a contemporary place with a vintage twist,” the designer explains in an interview for Wallpaper Magazine*.



CASSIO CLUB / 33 Wyndham St, Central, Hong Kong CHINA


A book and an exhibition pay tribute to the grandfather of Patrick Frey


René Prou, Between Art Déco and Modernism


For the first time, a book and an exhibition pay tribute to the work of René Prou (1887-1947), avant-garde decorator and central figure of the Art Deco movement.


La Maison Pierre Frey exhibits René Prou, a passion for decorative arts in heritage

       Patrick Frey, CEO and artistic director of Pierre Frey, is the grandson of René Prou. Always admiring of his grandfather’s work, at home he lives among some of his creations and safeguards his collection of precious documents, gouaches and old photos.

On the occasion of the launch of the book René Prou. Between Art Deco and modernism, Patrick Frey pays tribute to this great interior designer with an exhibition in the flagship showroom of Pierre Frey in Paris.
A large box featuring the different facets of his creativity will be installed in the middle of the showroom. Inspired by the furnished and heated cabin designed by René Prou in 1942 for the Comtesse Greffulhe’s salon, it also evokes his work on the interior design of cruise ships, which consists in creating a box in the box and highlighting the closed space of the sleeping cars
Sixty-five objects from the personal collection of the family or loaned by galleries, museums or private collectors * will be on display. It will present the work of René Prou, voyage ambassador, through his creations for the Compagnie international des Wagons-lits and for the Compagnie générale transatlantique, his work on wood and metal, his style defined by the shape and the curve of metal bases… A certain vision of a simple luxury that made René Prou, alongside Ruhlmann, Leleu, Dunand, Subes or Brandt, a central figure in the Art Deco movement.

*Maison Fontaine, Galerie Jacques Lacoste, Maison Louis Vuitton, musée des Années 30 de Boulogne-Billancourt, Orient-Express, Alessandro Bellenda, Alain Blondel, Jean-Marc Daillance, Jean-Pierre Paschal, Christine Constantin, Patrick Frey.

The unknown work of the decorator-designer told in a book

      René Prou holds an important place in the history of interwar decoration, particularly as a travel artist and decorator. He participated in the decoration of fifteen cruise ships of the Compagnie Générale Transatlantique, the new French luxury ambassador, and then with a luxurious aesthetic, of the cabins of the Orient-Express for the Compagnie internationale des wagons-Lits.
René Prou favors the simplicity of lines, the harmony of colors and the proportion of volumes. The furniture he designs is comfortable, bold, friendly and elegant. He uses beautiful materials such as exotic woods, ivory and lacquer, which he decorates with stylized vegetal motifs. He is constantly searching for innovations that the industry has to offer, such as: aluminum and Duralumin, which he uses for their lightness and durability, or plastic coatings that tastefully decorate the floors of ocean liners with geometric and colorful shapes. He intervenes with passion on everything, meticulous with the smallest details.
Between 1928 and 1932 he directed Pomone, the art workshop of the Bon Marché in Paris, which offered contemporary and affordable decorative pieces made in a small series to a broader clientele. In his shop, opened in 1938 on the Faubourg Saint Honoré in Paris, he presented decorative objects, his furniture signed with curved and fine feet that became his trademark, as well as the fabrics of his eldest daughter, Geneviève.
Very pedagogue, he became the ambassador of decoration through his teaching of youth at the School of Applied Arts in Paris or through his innovative training of women in the decorative arts: Charlotte Perriand will be one of his students.
With his classical training, his vision of decoration and the logic of industrial design, he imposed his style, at the crossroads of Art Deco and modernist trends. He had this sublime sentence synthesizing his state of mind about the quarrel between the Society of Decorative Artists and the Union of Modern Artists: «In art, only plagiarism is blameworthy and generally ugly.» Filigree, appears the figure of a free man with a great open-mind, who has trusted his creative genius.

The authors

Anne Bony (text) is an art historian specializing in the decorative arts. She is the author of many books including an important collection devoted to decorative arts by decade, Design, a history from 1851 to the present day and Ingrid Donat.

Gavriella Abekassis (biography) has devoted her masters I and II in Art History, at the University Paris-Sorbonne, to the work and career of René Prou. Her main research interests are the interwar decorative arts and contemporary art.




the book 
René Prou. Between Art deco and modernism
Norma Editions – 25 x 30,5 cm – 256 pages
Publication April 19th 2018 – Selling price : 65 €
the exhibition
from May  24 mai to June 16  2018
Showroom Pierre Frey
27, rue du Mail 75002 Paris – mon to fri 9h30-18h / sat 11-18h





Page 255










Ladurée concept store and tea room in Tokyo is using our “True Velvet”




The famous brand La Durée, well-known for its delicious Macarons, unveils a new store and tea room in Tokyo, Japan. Decorated by India Mahdavi, this colourful “gourmandise” place is upholstered with our velvets from the collaboration “True Velvet” India Mahdavi x la Maison Pierre Frey.


       India Mahdavi succeeded in assembling the Versailles inspired aesthetic of Ladurée and its pastel colors with the young japanese pop culture. Through a beautiful decoration of soft shapes, India Mahdavi embodies the sweets in a space that evokes them in every details. Soft velvets, brilliant marbles and glasses, sugar colors : this magical place seems popped out of a fairy tale where “Marie-Antoinette meets kawaii chic”, india says.


“I am here to bring joy, and Ladurée’s essence is closely connected to enjoyment. When the delicate meets taste. I wanted to bring some Frenchness to Tokyo and make this place a full experience inside and outside.”



Ladurée. 5 Chome-9-15 Minamiaoyama, Minato-ku, Tōkyō-to 107-0062.

© Gorta Yuuki courtesy of India Mahdavi




Well-known for its vines and delicious wine, the Gruaud Larose Castle located in France, Gironde in Saint-Julien-Beychevelle has been beautifully re-decorated. The place is all dressed in Braquenié and Le Manach, thanks to the Architecture studio Fabien Pédelaborde. It gives a very refined, noble but luminous touch to the spaces. A no-doubt classical decor, but however brilliantly fresh, delicate and actual.

gruaud larose-st julien de beychevelle-VM-07




gruaud larose-st julien de beychevelle-VM-38

La Maison Pierre Frey contributes to the exhibition “Modern Couples” at Pompidou-Metz




28/04 – 20/08/2018 – CENTRE POMPIDOU-METZ

The Centre Pompidou-Metz launches Modern Couples, an exhibition dedicated to the historical creative duos from the beginning of the XXth century.

Through a broad mix of visual arts, architecture, design, cinema, and literature, the masterpieces from Robert and Sonia Delaunay, Charles and Ray Eames or Nelly von Moorsel and Théo van Doesburg gives an essential highlight to the evolution of societies and thoughts while unveiling unknown figures and collaborations. The exhibition explores the creative processes and artistic approaches which interact and evolve within the intimacy of a twosome to give us a broader understanding of Art History and the soul and fringes of its essential movements. The very idea of modernity, as impacted by social, artistic and technical evolutions, is reviewed here through the prism of the couple.

For that occasion, la Maison Pierre Frey has opened its rich collection of archives. We lend several pieces that belonged to Djo-Bourgeois couple to the Centre Pompidou-Metz, taken from Maison Lauer heritage that la Maison Pierre Frey acquiered in 1995.


Georges, best known as Djo Bourgeois, is an interior decorator from the 20s/30s. He becomes famous with his interiors designs of shops, apartments and villas, such as some of the rooms of the well-known Villa Noailles in Hyères, France. Elise, his wife, is a designer of textiles, wallpapers and rugs. As one of the closest contributor to Djo’s work, her geometrical patterns are without contest a characteristic touch and identify their style. Together, this french couple distinguish themselves through their visionnary and truly modern approach.

The lended pieces of la Maison Pierre Frey gives a true eloquence to their work : an old lookbook of rugs photos shows their graphic compositions in spaces; the textile samples , representing 5 of Elise Djo-Bourgeois’s drawings in several colors, bring the photographies we have from their spaces alive with strength and brilliance. Finally, la Maison Pierre Frey has edited again one of the archives, especially for the exhibition. Intitled  «djo», the fabric will be used as a separative curtain for the scenography.


(the re-edited archive for the curtain of the exhibition)

IMG_5551mod page_1 IMG_3845 XDK3_002 IMG_5486od

© images credits : Médiathèque de l’architecture et du patrimoine du Ministère de la Culture diffusion RMN, Fonds Forney, Centre Pompidou-Metz, Dorothée Demey

Modern Couples, from April 28 to August 20 2018

curated by Emma Lavigne, Jane Alison, Elia Biezunski, Cloé Pitiot. In collaboration with Barbican Centre, Londres. 

Centre Pompidou-Metz, 1 Parvis des Droits de l’Homme, 57020 Metz – Galeries 2 & 3

Open from wednesday to thursday 10am – 6pm and from friday til monday 10am – 7pm. Closed on tuesday.

Milan Design Week 2018 : Where to find us




Paradigm exhibition – Chez Nina – I Segni del tempo

 1. Paradigm, Fabrica x la Maison Pierre Frey The exhibition

Paradigm, conceived by Sam Baron and the designers of FABRICA,* offers a visual journey through a series of installations questioning the role of the image in the process of contemporary design, blurring the boundaries between the object and its representation, creating a space where the object is the image, and image is the object. The event takes place in Ventura Stazione, renowned for its visionary selections beside the traditional frame of the furniture fair, displaying the renewal of contemporary design and new ways of expression. The space also hosts international figures such as the dutch Li Edelkoort or the American magazine Surface.

*the Italian research centre created by Benetton and considered as one of the principal homes for young contemporary creatives
Ventura Centrale – via ferrante aporti 19, Milano – 17>22 /04/18



2. “Chez Nina” night club, India Mahdavi & the “True Velvet” collection

Architect & designer India Mahdavi, known as “The Queen of Color”, created with Pierre Frey “True Velvet”, her very first collection of fabrics, which she used on the banquettes she just designed for Nilufar Gallery. Exclusively for the Design Week and as a celebration of their complicity, India Mahdavi has designed “Chez Nina”, a very special club named after Nina Yashar, founder of Nilufar Gallery.

«Velvet is one of the only fabrics that not only has a very sensual touch, but also allows bright and deep colouring. With this collection, I wanted to bring an embracing and joyful dimension – which my work has always been about.» India Mahdavi
open to the public from April 17th till 22nd (opening hours: 10am-8pm) - 1st floor of Nilufar gallery,Via della Spiga 32 


3. I Segni del Tempo store, Arapahos + True Velvet collections on display

The fabrics & upholstery store I Segni del Tempo is always searching for the best references to suit the clients desires and surprise them either with the quality or with the eloquence of the motifs. Especially for Milan Design Week 2018, new “Arapahos” and “True velvet” collections of la Maison Pierre Frey will be displayed in a special set in the showroom during the Salone.

I Segni del Tempo – via marco formentini 4, Milano (opening hours : 10am-8pm)



April 17-22 2018 
Via Ferrante Aporti 19 – Milano

Via della Spiga, 32 – Milano


Via Marco Formentini, 4 – Milano



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