Voltaire. Vuitton. Cézzane. Coq au vin. For centuries, Americans have been allured by French literature, fashion, art, and food.
The love affair began in the late 1700s when the American aristocracy began traveling abroad and returning home with containers filled with furniture, art, and decorative items. To this burgeoning new echelon, these pieces were more than just souvenirs; they were symbols of their newfound status, freedom, and style. “The French frenzy has proven to be much more than a design trend,” says art historian Ireys Bowman, who has served as a consignment specialist focusing on Continental furniture and decorative arts for the New Orleans Auction Galleries for more than 20 years. “Today, traditional period 18th-century high-style pieces are still very much in demand, and period provincial pieces continue to command attention. Right now, there is a resurgence of interest in Art Deco and Art Moderne styles, especially among young collectors, as these pieces tend to complement contemporary interiors.” So, as the adage states, what goes around comes around.
In the living room of his Upper East Side apartment, Papachristidis pairs a Jansen-style sofa, 20th-century gilded coffee table, and 19th-century bronze gueridon with an Egyptian Revival stool and a Chinese bamboo chair and garden seat. Despite the disparate provenances, the unlikely assemblage melds seamlessly into the space for a sense of collectedness.
For more than 25 years, Dallas-based interior designer Betty Lou Phillips has taken a similar approach to decorating with French antiques. “Harmony trumps conformity,” she says. “That is my personal design philosophy and a common sentiment among the French, whose self-assured approach to decorating captures our attention and channels our energies in pursuit of statement-making interiors.”
“Like the French, I believe that filling a room with shiny, matching sets of showroom furniture creates a look that is contrived. An innately beautiful room hosts a meaningful mismatch of pieces that serve as tangible links to the past—a threadbare area rug, a chipped porcelain vessel. These perfectly imperfect elements, each with their own résumé, come together with elegance and ease.”
By Margaret Zainey Roux | Photography by Sara Essex Bradley | Floral design by Dunn and Sonnier