Specially after an inspiring time in Paris at the Maison & Object and chiefly an impressive stay in the family house of JOSEPH DIRAND, I feel that my head is round to change ideas and my openness to new inspirations allows me, to see “old fashioned” materials in a new perspective. I am inspired, I am fascinated and I am re-planning…

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Joseph Dirand, the son of Jacques Dirand, arguably the most famous interiors photographer of his day, and now himself one of fashion’s most heavily sought-after architects, Dirand has built a career on incorporating a quintessentially French style of design into otherwise minimalist interiors.


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He settled on a design that is elegant and a little bit louche. “I don’t care about style anymore, in a way I hate style, I hate design,” he says. “It’s about life, and generosity.”

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Dominated by black and white, this taut architecture likes to contrast scales and eras and reveals a sense for an innate nature to a given setting. Screen Shot 2015-02-01 at 15.58.47Screen Shot 2015-02-01 at 16.03.07 Screen Shot 2015-02-01 at 15.59.47Screen Shot 2015-02-01 at 16.06.08 A graduate of the Paris/Belleville school of architecture, he cultivates the stylistic stamp that fits his very personal sense of elegance. Screen Shot 2015-02-01 at 16.07.27Screen Shot 2015-02-01 at 16.20.46 It is a jarring setting in which to find Dirand, one of the most sought-after architects and interior designers in fashion and the creative mastermind behind the brand-new Givenchy store in Paris, Rick Owens’ Mayfair boutique as well as Alexander Wang’s Beijing outpost. He has also designed luxury hotels in Mexico and the Monsieur Bleu restaurant at Paris’ Palais de Tokyo, which mixes the elegance of early Viennese modernism with electrifying jolts of various provenance: a shade of green here, an unexpected lamp there and exquisite Lalique glass wall panels throughout. Screen Shot 2015-02-01 at 16.08.43 Screen Shot 2015-02-01 at 16.07.16

Dirand’s style is almost instantly recognizable, characterized by strong lines, impeccable proportions, and breathtaking precision. “The way he treats and defines space is very clean,” says Mahdavi. “He’s created a language of his own by reinventing traditional French decorative elements in a contemporary way.” Kalt agrees, saying, “It’s the meeting of classicism and minimalism. There’s both a Cistercian touch and great elegance.” And as Gilles Malafosse, owner of Monsieur Bleu, points out, “One of the main characteristics of his work is the absence of anything superfluous.”

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