Each year, the period following the winter holidays finds me drawn to the allure of Paris, a tradition rooted in the vibrant offerings of Paris Design Week. This annual sojourn allows for an immersion into the latest in sophisticated design, intertwined with the profound historical and aesthetic essence of France. During this time, numerous interior designers and industry professionals gather in the French capital for significant events such as Maison & Objet, which showcases furniture and decorative items, and Paris Déco Off, a city-wide spectacle that opens up showrooms and historic venues to present new wallcovering and textile collections to the public.
For those with a deep appreciation for design, artistry, style, and historical narratives, there is perhaps no more opportune moment to experience Paris. Particularly for a Francophile who cherishes the romantic spirit of the city, the chance to observe the inner workings of its most breathtaking and storied locations is an unparalleled delight. My most recent visit included a 1920s pagoda, where the newest collections from Lelièvre were displayed amidst Chinese-lacquered interiors. I also explored L'Arrosoir, Paris's oldest floral establishment, which hosted Little Greene's garden-inspired wallpapers, and Galerie Kraemer, a venerable family-run art gallery, where an antique-themed evening, complete with period dancers, unfolded against a backdrop of museum-quality furnishings from notable collectors like Karl Lagerfeld.
My accommodation for the 2026 Paris Design Week was the Hotel Panache, a chic boutique hotel situated near the lively Grands Boulevards. It offered a blend of convenience, elegant aesthetics, and reasonable pricing, even during the city's busiest periods. The timing coincided with France's biannual sale season, enabling savings on cherished French brands such as Tressé, Maison Guillemette, and Jonak, with additional discoveries anticipated during my weekend excursions to the flea market.
The week commenced on January 13th with a visit to Château des Joncherets, a 1620 castle designed by Versailles's own landscape architect, André Le Nôtre, located an hour and a half east of Paris. A collective of modern designers had revitalized the château's ground floor, which was undergoing significant restoration. While enjoying local refreshments, one could envision the future culinary experiences once the chateau's vegetable garden is revived under the guidance of farm-to-table culinary innovator Alice Waters, who also plans to establish a branch of her Edible Schoolyard on the premises.
Later that evening, I returned to Paris to experience the newly reopened Fondation Cartier during its late-night hours. Having frequented Paris for studies and leisure, I always prioritize temporary exhibits and inaugurations. Although the institution features prominent contemporary art, I was particularly intrigued by Jean Nouvel's architectural transformation of the fondation's expansive spaces, which historically housed the 19th-century department store, Grands Magasins du Louvre.
The subsequent morning began with a stroll to Rue du Mail, a bustling street adorned with decorative lanterns during Déco Off. My key destinations were Sahco and Samuel & Sons. Since Kvadrat, a leading Scandinavian textile supplier, acquired Sahco in 2018, the German fabric house has significantly enriched its offerings, largely due to creative director Bengt Thornefors. With a background in founding Magniberg and working in fashion design for luxury brands, Thornefors is acclaimed for his unique color schemes and versatile fabrics suitable for both upholstery and apparel. Sahco's presentations frequently pay homage to Thornefors's fashion expertise, showcasing fabrics as garment bags or on accessories like cowboy boots.
A short distance away, I visited Samuel & Sons, a family-operated passementerie firm based in New York City. Their range of tassels, braids, and fringes is widely utilized by leading designers globally. This year, they introduced the Romaunt collection, a collaboration with Martin Brudnizki, inspired by the romanticism of the Pre-Raphaelites. Nearby, I explored the studio of Pierre Frey, a pivotal figure in French textiles, wallpapers, and rugs. After a delightful detour through the Little Tokyo neighborhood, I reviewed the company's three new collections. The sheer volume of designs in new collections, often numbering in the hundreds across various colorways, was striking, far exceeding the scale of fashion collections. The 2026 flagship collection, Jardin à la française, featured designs from abstract garden geometries to charming prints based on Le Nôtre's original garden sketches. Another collection, Mémoires Colorées, was a collaboration with Belgian artist Isabelle de Borchgrave, celebrating her vibrant artwork and studio.
My afternoon was dedicated to three exhibitions near the Tuileries Garden. I was keen to see "Berthe Weill. Art dealer of the Parisian Avant-garde" at the Musée de l'Orangerie, celebrating her role in championing artists like Matisse and Picasso. Following this, I stopped by Gagosian's Rue de Castiglione location, where Joseph Cornell's New York basement studio had been re-created in collaboration with Wes Anderson, showcasing the artist's whimsical shadow boxes. Although Cornell never traveled outside the United States, he drew endless inspiration from Paris.
Continuing my cultural exploration, I visited the Musée des Arts Décoratifs, an institution I consider a personal favorite due to its integration of art, design, fashion, and jewelry. While anticipating its "Art Deco blockbuster," I was surprised and captivated to find the first floor entirely dedicated to the Orient Express. As someone fascinated by historical luxury travel, this exhibit, with its recreations of train cars and detailed display of company materials, felt like the closest experience to stepping back in time. The broader Art Deco exhibition also featured exquisite objects, including André Groult's shagreen chest of drawers, Cartier's Tutti Frutti jewels, and Sonia Delaunay's wearable art.
Paris also hosted several exhibitions marking the 100th anniversary of Art Deco, including LV Dream, a more streamlined rendition of Louis Vuitton's traveling "Volez Voguez Voyagez" exhibition. The intricate leather trunks, transforming into bespoke vanities and desks, never fail to impress. My evening concluded at Galerie Kraemer, a truly remarkable antique establishment where almost everything is available for purchase. Jiun Ho, Shiir Rugs, and Lala Curio co-hosted an 18th-century themed soirée in the gallery's opulent salons, where I received a portrait sketch as a memento of the elegant night.
My most cherished keepsake, however, was a creation of my own. On January 16th, I participated in a mask-making workshop hosted by Samuel & Sons, preceding their masquerade ball. Having previously designed a pillow with their trims, I embraced the opportunity to experiment with various embellishments, selecting a favorite blue and green jagged stripe fabric from a past Sanderson x Giles Deacon collection. Inspired by Art Deco plumes, I ingeniously inverted a tassel to create a fan-like effect, a tribute to Paul Poiret. The ingenuity of the workshop participants was inspiring, fueling my ongoing passion for decorative trimming.
Following visits to several St. Germain showrooms, my feet grew weary. I found solace at Calma Spa, where, after viewing new lighting and furniture from Iatesta Studio and Kendall Wilkinson, I received a complimentary massage—a brilliant public relations gesture I hope becomes a tradition. My evening concluded with cocktails at the home of antique dealer Jean-Paul Beaujard, who partnered with Edmond Petit and Carpet Society on a collection of floral textiles and wallpapers. This abode was an epitome of maximalist hotel particulier splendor.
The next day, I revisited St. Germain to explore two British heritage brands: Liberty, which unveiled new wallpapers from its extensive archive for its 150th anniversary, and de Gournay. While de Gournay typically transforms its showroom into a speakeasy, this year it presented an airy, shoppable antique shop, with its signature hand-painted wallcoverings forming a captivating backdrop. Upstairs, Maison Leleu, founded in 1910 by Jules Leleu, showcased its elegant designs. The maison, revived by Jules's great-granddaughter Alexia Leleu, seamlessly blends original creations with contemporary touches, despite a historical setback involving an unpaid commission for the Shah of Iran.
My journey continued to the Marais, where I discovered an installation by Nordic Knots and interior designer Marie-Anne Derville at the Hôtel d'Hallwyll, designed by Andrée Putman. In the vicinity, I visited the Fondation Azzedine Alaïa to see the initial part of an exhibition on his extensive Christian Dior collection. Subsequently, I explored the Victor Hugo house-museum, where the "Hugo décorateur" exhibition illuminated the author's profound interest in design, enhancing the visit to his meticulously preserved salons. A particular highlight was a dollhouse-like box crafted by Hugo during the 1830s. My night culminated at another hotel particulier, the illustrious Hôtel Salomon de Rothschild, for a formal dinner celebrating Corey Damen Jenkins's new lighting collaboration with Eichholtz, presented in grand Haussmannian style.
No trip to Paris is truly finished without a visit to the flea markets. Instead of the vast Saint-Ouen market, I opted for the more manageable Porte de Vanves market, where hundreds of vendors display an array of curiosities. Among my finds were a footed pink alabaster casket box, a brass Art Nouveau hand mirror, and a vintage Emanuel Ungaro floral jacket. Afterwards, I had the unique privilege of a private tour of the Pierre Frey archives. The custodian, Sophie Rouart, allowed me to explore any style, from lamé to moiré, revealing the extensive collection of 20,000 documents and fragments. A remarkable highlight was an enormous 18th-century woodblock used for printing. The archives vividly demonstrated the intricate connections between fashion, art, and design, and the boundless inspiration that fuels Pierre Frey's expansive collections.
My final day in Paris was dedicated to museum exhibitions. The most anticipated, and ultimately my favorite, was the Grand Palais's "Eva Jospin, Grottesco · Claire Tabouret, D'un seul souffle." Each French artist had her own gallery showcasing monumental works. Tabouret presented life-sized models and preparatory pieces for her six stained-glass windows for Notre-Dame Cathedral, a commission she secured in 2024. Despite some controversy surrounding the selection of a contemporary artist, I was profoundly moved by the power and reverence embedded in her thoughtful designs, imagining their profound impact in stained glass.
While Tabouret's creations envelop one in vibrant hues, Jospin employs color with greater restraint. Yet, within her cardboard worlds, there are endless moments of enchantment and discovery. I have long admired Jospin's work, but this exhibition showcased an unparalleled breadth and mastery of her chosen materials—cardboard and thread—across more than 15 pieces of varying scale. It stood in stark contrast to the luxurious textiles and diverse wallcoverings I had seen throughout the week, yet was equally captivating. I am consistently drawn to artists who build worlds, and I feel immense joy and good fortune to have experienced the ultimate worlds of Jospin and Cornell during my trip.
My concluding stops included the Palais Galliera, where the exhibition "Weaving, Embroidering, Embellishing. The Crafts and Trades of Fashion" evoked memories of the Met's "Manus x Machina" show, with its focus on craftsmanship and materiality. I particularly appreciated the collaboration with le19m, which spotlighted historical embroiderers, feather crafters, and other artisans dedicated to preserving these specialized skills. To round out my journey, I visited Galerie Dior to admire more pieces from Alaïa's collection, including another stunning work by Jospin, a frequent collaborator with the fashion house. Having seen Alaïa's couture collection at Palais Galliera a few years prior, it remains astonishing how one individual could amass such an extraordinary array of fashion history. Each visit to Paris serves as a profound reminder of the immense privilege of experiencing such profound beauty. A poetic coherence permeates every aspect of the city, and my list of discoveries remains perpetually unfinished, which, for me, is the ultimate delight. Regardless of how many times I return, Paris always unveils more beauty to uncover.