Fashion's Favourite Architect Isabelle Stanislas Designs the Dreamiest Spaces in Paris
Architect and interior designer Isabelle Stanislas masterfully connects art, historical detail, landscapes, bespoke furnishings, and complementary or contrasting materials to create luxurious spaces for her clients. In addition to lending her design expertise to houses such as Hermés and Cartier, Stanislas was also tapped to renovate the iconic Élysée Palace in Paris—the official residence of French presidents since 1873. With a monograph of her work recently published by Rizzoli—and accompanied by a unique signature fragrance—Stanislas reflects upon the path that ultimately led her to create her signature warm and contemporary aesthetic.
L'OFFICIEL: Why did you choose architecture?
Isabelle Stanislas: At 16, I visited Bezalel Academy of Art and Design in Jerusalem. I was inspired by the freedom of the courses and the teaching style. Less so than the architecture itself, it was this freedom that made me want to follow this path. I first went to a school of interior architecture in Paris, where I learned to draw, before applying to the Beaux-Arts de Paris. I took a chance and ended up attending.
L'O: Does drawing still hold an important place in your work?
IS: Yes. I don't design a single project without a layer sheet. I like drawing. On a roll of tracing paper, the whole project unfolds.
L'O: Your first assignments as an architect began around fashion. What previous relationship did you have with that world?
IS: I never had a connection to fashion, but by serendipity I met Thierry Giller, who had recently opened Zadig & Voltaire boutique in Les Halles. Three months later he called me for a boutique project. It was a good introduction to fashion: very feminine and fast-paced, and fairly different from the world of architecture, which is slower and more masculine. Fashion is constantly moving, with collections every three or six months. Whereas in architecture, a project can take years.
The first store I did for Zadig & Voltaire was on Rue des Francs-Bourgeois. We kept the space fairly raw, which was different for retail at the time. Then, we worked together on the boutique on Rue François-Ier, where the real concept emerged, and the design was ultimately applied to stores around the world. I later worked with brands like Hermès and Schiaparelli, and today I mainly work with Cartier.
"I like drawing. On a roll of tracing paper, the whole project unfolds."
L'O: How do you approach a new project?
IS: I have two points of focus. The first is the customers: they have a unique personality, which is very important to me. The second is the place, which has a heritage, traditions, and lifestyle. My work is to cross these two parameters: on the one hand, the constraints linked to the client's preferences, and on the other, the respect of the place. When we present a project, we often work on it for a year or two—it's a long-term adventure. It's like a marriage, it takes trust. People come to me with dreams; it's up to me to make them a reality.
L'O: Where do you find inspiration?
IS: Travelling! For my holidays, I love to try all the retreats possible, in Portugal, Morocco, Spain, wherever my mind can pause while allowing me to observe the world and recharge my batteries. My primary source of inspiration, though, is art.
L'O: Who are your favourite artists?
IS: Cy Twombly, Rudolf Stingel, Damien Hirst—I'm also a big fan of Tadashi Kawamata's works, which are more focused on volume. I really like the work of François Morellet as well, a great maker of kinetic art.
L'O: How do you incorporate nature into your work?
IS: I love working with landscapes. In Comporta, Portugal, it was wonderful to set up houses among the pines. Working with vegetation in the same way as architecture allows for a real indoor-outdoor immersion. In all the projects I did in Portugal, nature was very important, since it was necessary to integrate into the heart of the building.
"People come to me with dreams; it's up to me to make them a reality."
L'O: Who are your mentors?
IS: Tado Ando, because he brings life to concrete and he succeeds in making it feel light. Renzo Piano, whose approach is both global and pure in detail, is an architect who is able to create a project from a single detail, even a bolt. I also really like the work of Louis Kahn, who was truly the master of symmetry; the master of matter.
L'O: What is your dream project?
IS: I would love to design a museum or cultural space.
L'O: Craftsmanship and made-to-measure are inseparable from your profession, which deals with luxurious materials.
IS: I have been working with French crafts and very old houses for 20 years. Without them the architect is nothing. The artisans I work with have very long lead times, but this is the guarantee of excellence and passionate people. I also like to work with smaller cabinet makers for furniture prototypes, where the "small" scale of things is important. Wood and marble are my favorite materials.
L'O: Your book, Isabelle Stanislas: Designing Spaces, Drawing Emotions, looks back on 12 emblematic projects of your vocabulary, and its release is accompanied by a fragrance. Why these 12? And why perfume?
IS: The work on the book was done over two years. Having worked a lot in Paris, I wanted to report on the heritage of apartments from the 17th and 18th centuries. But, above all, I didn't want it to be a catalog of places. I put considerable energy into this book and I am very proud of the result. We decided to also release an olfactory signature (in a candle and room spray) in collaboration with D'Orsay, a specialist in tailor-made perfume. It's called 20:15 Presque prête [Almost Ready], because it's a bit of the story of my life; this moment before an evening that promises to be a whirlwind. The idea of associating a smell with my work enchanted me.
