Inside Paris Design Week
The De Gournay Paris Showroom
OUR INTERVIEW WITH MR. MITCHELL DIRECTOR, ANDREW MITCHELL
Andrew, YOU VISITED PARIS LAST MONTH FOR PARIS DESIGN WEEK.
this was your fourth time in Paris. What struck you most about attending this year’s Paris Design Week? Did anything feel notably different or more relevant to designers visiting from Australia?
I’ve been to Paris four times before, but this was really the first time that I went with the lens of design and the first time that I've been to Paris Design Week.
I think seeing Paris through the eyes of a designer was quite amazing because the scale and proportion of the city and the amount of history is just on a different level. It's something that we just don't have here in Australia.
I know it sounds cliched to say, but the Parisians are just so effortlessly chic, and I think that they do things without a huge amount of effort, or seemingly without a huge amount of effort. I was in Milan for the Milan Furniture Fair in 2023, and that was just so super hectic, and I just found that Paris was comparatively calm. There was a kind of a laid-back feel to it. It was busy, but without it feeling frantic, and I really enjoyed that side of my time there.
Works by French Cermic Artists “Vicenzo Di Poulouza”, Exhibitors at Maison & Objet 2025
AN ATTRACTION OF PDW IS THE TRADE FAIR MAISON & OBJET.
You’ve said that Maison & Objet is “worth a day, but it's not the main event.” What makes exploring the city-based installations and showrooms so much richer than spending days at the fair?
Maison & Objet is definitely worth a visit, but it's important to note that the September edition isn't their main show. Maison & Objet in January is when the suppliers release their major new ranges and new fabric lines and the show is a lot bigger.
That being said, I still found some beautiful new boutique makers that I probably would never have otherwise come across, such as the works of Di Vicenzo Poujoula, a talented duo of self-taught ceramic artists based in Toulouse.
What I found from my visit for Paris Design Week was that everything that happens in and around Paris is much more exciting. Prominent designers and architects open their showrooms to the public, and furniture and lighting brands open their showrooms for special events. They often host talks and parties, and there's a real buzz in the city as people go from showroom to showroom.
Even though January is when most suppliers release new ranges, September is a secondary time when fabric houses, furniture manufacturers and lighting companies are releasing exciting new product. I was fortunate to get a VIP preview of a lot of products that won’t be released in Australia until next year.
The other elements that make the city so much more exciting are the installations. They're quite spectacular and can be on a really grand scale, or quite small. Often they’re set inside, or in the grounds of, significant architectural monuments in the heart of the city. The whole experience is very immersive and such a beautiful way to be inspired by design.
“Freedom Corals” Installation by Aude Franjou at Place de la Bastille during Paris Design Week 2025.
In the Marais District you visited some significant installations, including “Madness”, “577 Chairs”, and “Freedom Corals”. What themes did you see emerging through these works, and how did they reflect the broader Paris design scene right now?
I spent a full day exploring the Marais, and it was so beautiful. The Marais is, from a tourist perspective, everything you could want: the beautiful architecture, green spaces, the streets are very quaint, and there's lots of gorgeous little boutique shops, cafes and bars there too.
The unique thing about the installations is that it's an opportunity to see designers and architects expressing themselves in ways that you wouldn't normally see in project-based work, that’s always confined by a project brief. These works are creative opportunities for these incredible designers and architects.
I feel like everything that we get to see during Paris Design Week really gives us a glimpse into what it is to be a French designer. What I've learnt about the French is that their design is quite pared back, but then it can be quite maximalist at the same time. It always looks very considered. They’re creating contemporary design in beautiful, historic architecture which forces them to be very inventive.
The other thing that I found about the French people is that they have a good sense of work-life balance. The French have quite strict rules about work hours, which I think ultimately adds to their laid-back approach. Having said that, they’re also very politically minded and are quite well-known for going on strike. When they believe in something, they really take a stance.
So you see, through these installations, they're bringing in all of these elements: the creativity, the sense of “joie de vievre” (living a full life), forward thinking design with a respect for history, all with political undertones. None of the messages are in your face. Everything is quite beautifully and elegantly done, and I think that's just so typical of the French way of life, and the French approach to design.
Elitis “Bayadere Stripe” 100% Merino Wool Fabric, from the new “Racines” Collection.
You spent time on the Left Bank with brands like Elitis and De Gournay.
Beyond the visual splendour, what did you take away from those private tours about craftsmanship, sustainability, or the future direction of luxury design?
That day was quite special for me as both of those brands are very, very important French brands. Both are relatively young companies (in the scheme of European design) as both were founded in the late 1980’s. Elitis is, to me, the essence of contemporary French design, where De Gournay represents the best of history and tradition.
At Elitis I was hosted by Charles, a member of the family who established the company almost 40 years ago. Of course I received a very personalized explanation of the values of the company, about their creative process, and why they make the choices that they do. I was also fortunate to get a VIP preview of their most recent collections, including a landmark range of pure wool fabrics, all sourced and milled within a 200km radius in the south of France, creating a very sustainable yet beautiful end product.
De Gournay is a complete contrast to the contemporary designs of Elitis. I was lucky to have a beautiful private tour with showroom manager Joanne Aoun. I learned more about their manufacturing techniques and the history of the company. How they resurrected the ancient art of Chinese hand painting on rice paper and how they've spent decades researching and reinventing those century-old techniques and further adapting them to include modern elements like intricate beading and embroidery.
Most importantly, that day enabled me to better understand the incredible artistic and artisanal approach that both companies have, which helps me further connect to the brand and gave me stories that I can then take home. So when I'm speaking to my clients about these beautiful brands and the products that they create, I have stories and insights that that help them connect with the product on a different, deeper level.
Le Grand Cafe, Architecture and Design by Joseph Dirand.
Let’s talk about Le Grand Café. You described it as “design and food heaven.” What was it about Joseph Dirand’s approach (and perhaps even the service or atmosphere) that encapsulated Parisian design culture for you?
This was without a doubt one of the best dining experiences of my life!
From the interior to the food and the service, this restaurant epitomises everything that I’ve mentioned previously about the best of French design: understated, elegant and effortless.
Dirand has paid homage to the original Art Nouveau architecture, managing to make the enormous space feel grand and intimate at the same time. He’s exercised restraint with an earthy palette of rich terracotta reds and warm pinkish browns.
The menu is classic French Bistro, executed at a fine dining level, and the staff are attentive but unobtrusive.
And then there’s the terrace that’s framed by majestic Roman columns and has a stunning view over treetops towards the Champs Elysees.
Although it’s clear this restaurant is for the Parisian social elite, it also has a very warm and welcoming feel that’s not at all what you’d expect from such a highly regarded French restaurant.
Chistian Liaigre Showroom, Paris
You managed to secure amazing private tours of some of Paris’s most respected interior design firms. Between the showrooms of Stephanie Coutas, Gilles & Boissier, and Christian Liaigre, it sounds like you hit the Parisian trifecta of contemporary elegance. What connects these designers for you and what might Australian designers learn from them?
It was a genuine honour to have private tours of all of these designers’ showrooms, all located within walking distance of one another in the fancy 8th Arrondissement.
They’re three very different designers, all with unique design styles, but there’s a French sensibility flowing through all of their work, with interesting connections between them.
It was a lifetime goal of mine to visit the (business) home of Christian Liaigre (who unfortunately passed in 2020). He’ll always be known as one of the masters of contemporary French interior design and his design style has heavily influenced mine.
His legacy lives on through an capable team of designers, with their flagship showroom set over 4 levels in a magnificent 18th Century building on the very prestigious Rue Fauberg Saint Honore. Just being in this space, surrounded by the signature Liaigre furniture and designs filled my design cup to the brim!
As current AD100 members, Parisian design firms Stephanie Coutas and Gilles & Boissier are both representing a very new wave of Parisian design.
With a background in fashion, Stephanie’s interiors are highly decorative with a focus on details, and her gallery in Paris’s “Golden Triangle” is an absolute feast for the senses, showcasing her own product lines, and the works of noted French artists and makers.
Patrick Gilles and Dorothee Boissier set up their design studio in 2004, with Dorothee coming from the team at Christian Liaigre. Their studio is set in a historic Parisian apartment building, generously taking up a whole floor of the building. You can see the thread of Liaigre coming through their classic contemporary interiors: everything is on a grand scale, but there’s also a real attention to detail. Patrick and Dorothee openly admit to having regular creative clashes, which they credit to the success of their highly awarded design practice.
Just being in the creative spaces of these design icons reminded me about the importance of physical spaces to communicate our design vision. In a city where the price per square metre/foot is higher than anywhere in the world, these designers are investing in spaces that truly showcase their abilities and design philosophies.
The famous Paul Bert Flea Markets in Paris
You also explored the famous Paris Flea Markets. For someone attending Paris for the first time, what’s your advice for making the most of those markets, especially if they’re hunting for unique pieces?
My day at the Flea Markets was an absolute highlight of my time in Paris. There’s nothing that can prepare you for the extent and of what you’ll find!
Probably the most important thing that I learned was that there’s a few very distinct areas of the markets, all offering different types of products at very different levels of quality and price.
The world-renowned Paul Bert Markets are where designers from around the world travel to find exquisite high end vintage pieces. There are hundreds of individual stalls, some quite small and some spread out over several rooms, but all offering quality vintage items: furniture, lighting, artwork, sculpture, taxidermy, curiosities… everything you can imagine, from all design eras. It’s like a museum. And if you’re planning to buy, make sure you bring a cheque book with a hefty bank balance!
For the right client, you’d definitely be able to source some incredible, unique pieces that you wouldn’t find anywhere else in the world. They also have an office that can help with international shipping (again, expect to pay top dollar).
Across the road, I found the Vernaison Markets. These markets have a huge selection of more reasonably priced products. Again, individual stall holders offer a big range of different items, from artwork to furniture, lighting, fashion, rugs… I was super excited to buy 5 pieces of art for 120 Euros as a bit of a reminder of my time in Paris, and can’t wait to get them framed now that I’m home.
For designers or design lovers thinking about visiting Paris during Paris Design Week next September, what’s two or three practical travel or timing tips you’d give them to make the most of Design Week experience?
TIP #1: Do your research upfront! There’s a lot going on in the city over that 10-day period, and you need to do your research to work out what you want to see. I’d break the city down into areas (Paris Design Week help do this for you), and tackle one area per day. The PDW website is a great resource, and they also have an interactive app that provides a map, which really helps.
TIP #2: Stay centrally. I found the beautiful Hotel National Des Artes et Metiers, on the outskirts of the Marais, very close to major Metro lines, and walking distance to lots of fun places in the Marais. It’s a beautiful hotel, just far enough away from the bustle of the Marais, with the added advantage of being close to everything.
TIP #3: Travel via the Metro. The Paris subway system is the best in the world. It’s simple, reliable and quick. And some of the stations are so incredibly beautiful – another example of how much the French value great design. If you’re there for a week or more, purchase a weekly Metro Ticket, as it’s far more economical. To get this you’ll need a 25mm x 35mm photograph (like a passport photo, but smaller) which you can take in photo booths at some of the stations.
