HOTEL NORMAN PARIS & CHATEAU DES FLEURS, PARIS, FRANCE

Posted in Projects on 12 October, 2024

From Art Nouveau to Mid-Century Modern – a tale of two hotels.

Words by Emma Kennedy

Paris in August is a tale of two cities. As the tourists flood in, the locals shut up shop and leave in droves. On one hand, it’s ‘chapeau bas’ to the city that refuses to bow to convention, but on the other it does seem odd – to go en vacance when we are there with euros to burn in our pockets Nonetheless, that’s what they do.

Arriving at the Champs-Élysées, in the week following the Olympics, was akin to walking into the party after the guests have left. The signs, the posters, the improvised stadiums were all in full view, and while the locals may have been in short supply the tourists were out in force.

For me, Paris in August was a tale of two hotels, starting with the Hotel Norman Paris. The modern corner property sits between elderly neighbours on Rue De Balzac, a discus throw north of the Arc de Triumph. Hidden by a green velvet portiere, from the street, there’s little hint of what lies behind the heavy glass revolving door. And so, it’s doubtful I was the first guest to stand motionless on arrival as I drank in the opulence of the setting, I found myself in.

Hotel Norman Paris -Left: Terrace Suite. Right: Sky Suite. Top: Lobby. All photographs courtesy of Small Luxury Hotels of the World.

It’s been a busy time for hotelier Olivier Bertrand, with the recent addition of three new properties to his Parisian portfolio. Joining Relais Christine in Saint-Germain-des-Prés and the Saint James in the 16th arrondissement, the Hotel Norman Paris, Chateau des Fleurs and most recently Hotel Balzac, are his latest offerings. With each hotel in full possession of its own clear identity, there’s little to link them visually. But before diving into the mid-century aesthetic of the Hotel Norman Paris, a brief explanation of its namesake is a must.

Norman Ives (1923-1978) was an American artist, graphic designer and publisher. Whether you are familiar or not with his name, a quick delve into his work will instantly reveal recognisable images, many of which are visually synonymous with almost anything that bears a reference to mid-century design.

Digging deeper than a quick delve, Hotel Norman’s designer, architect Thomas Vidalenc, has clearly immersed himself in both the artist’s work and the design aesthetic of the period. Avoiding the ubiquitous ‘inspired by’ nod to mid-century design, the hotel’s interiors remain respectful of the movement.

Hotel Norman Paris – Thiou Restaurant

With just 37 keys, (29 rooms and 8 suites) the 5-star hotel allows guests to feel as bespoke as the interiors. Without a traditional reception, on arrival we were ushered straight to the elegant bar for a welcome drink, as check-in quietly happened in the background. Perching on sturdy saddle bar stools, there’s a distinct Mad Men feel to the bar, which left me looking for Don Draper with each passing guest. Echoing colours found in the artworks throughout the hotel, a rich palette of olive green, mustard and burgundy, make up the heady mix of mid-century furnishings. Re-upholstered originals, mingle with modern pieces, and deciphering which was which, became an ongoing source of entertainment.

Decades overlap in the furniture and artworks, all sourced and curated through a design lens, with the help of treasure seeking online auctioneers, Selency. The authenticity continues into the restaurant area, but with a less opulent, more subdued tone. Rough tweeds butt up against soft velvet on bench seating that backs onto linen lined walls. Rattan chairs, brass framed café tables and abstract patterned rugs sit on oak flooring. Modernist sculptures, 70s ceramic lamps and West German lava pottery sit bright and bold on shelving.

A private inner courtyard, complete with crazy-paving (de rigueur in the 60s) and a retractable roof, sits behind metal framed bifold doors, providing an outdoor dining space. Calm and spacious, it’s both elegant and chic in design and ambience.

On the floors above, the rooms and suites are surprisingly spacious for a central location in Paris. Taking the palette and materiality from the restaurant and bar below, the suites succeed in the design ambition ‘to make each space like a Parisian pied-a-terre’. The corner suites come with a cocktail-ready balcony, which depending on the floor offer rooftop views of the surrounding landmarks. Rosewood and leather make up the headboards on possibly the comfiest beds in Paris, and bespoke storage units in pale oak offer ample space for hanging and hiding clothes. Taking centre stage in the living area, a Corbusier chaise in wonderfully worn tan leather is joined by a generous sofa and a low, ribbed glass table. Unlike many hotel suites – where the inclusion of a sofa appears enough to up its status from a standard ‘room’, our Junior Corner Suite really did feel more like an apartment, with plenty of space for two of us to move around freely.

Chateau des Fleurs – Lobby.

Continuing with the mid-century aesthetic, the bathrooms vary in size and offerings, depending on the room category. Mosaic tiled walls, marble handbasins on rosewood vanity units and generous showers (some with discreet tubs hidden behind linen curtains) are the main ingredients, but most importantly, all come with flattering lighting.

The basement is home to the spa, that includes a large lap pool and sauna, a well-equipped gym and two Omnisens treatment cabins offering treatments and massages to order. Leaving the opulence to the floors above, the space takes on a wonderfully minimalist aesthetic, in soft neutral tones.

Refreshed, satiated and feeling thoroughly looked after by the exceptionally warm and accommodating staff, we bade farewell and made our way to Norman’s slightly older sister.

Reupholstered originals, mingle with modern pieces, and deciphering which was which, became an ongoing source of entertainment.

In comparison to Norman’s rich more-is-more aesthetic, Chateau des Fleurs could be described as a delicate flower, gently offering classic French style and charm. The period property, on the corner of Rue Vernet – a short walk from the Champs-Élysées – is beautiful inside and out. Balconies and window boxes, spilling over with verdant planting, fringe the façade. Staying true to the building’s Art Nouveau heritage, Barcelona-based architectural studio, Quintana Partners, has made its Parisian debut with Chateau des Fleurs.

Entering double doors under an Art Nouveau glass awning, I arrived in the reception – where a simple wooden counter sits quietly in the corner of the bar and lounge area. Behind, the backlit cubbyholes with leather tassel keys, is evocative of another era and sets the tone for the interior design that followed. Swathed in natural light, the whole area is a sea of soft cream in different textures and finishes, punctuated with pops of coral. The result is exceptionally calm and for want of a better word… pretty.

Despite having many of the decorative layered detailing associated with Martin Brudnizki and his many impersonators, the absence of colour, artwork and pattern gives the space a very different feel. Overhead, glass lights spouting decorative daisies glow down from a panelled ceiling with mirrors and bobbin mouldings. Rattan covered mirrored panels line the walls, and boucle chairs and small tables fringe the perimeter. Pops of colour are delivered sparingly through the pretty tasselled chairs in coral velvet, and an oversized Murano glass chandelier hanging in a curvaceous recess.

Chateau des Fleurs – Deluxe Room.

Chateau des Fleurs – Bar.

Upping the tempo, behind a counter of rich veined marble, the central bar, beckons brightly. Brass accents, touches of gold, scalloped lighting and bottles of liquor which could have been chosen for their colour alone, brings a cinematic quality to the space. Never mind Don Draper – I’m now looking for Humphrey Bogart and Lauren Bacall.

Soft art nouveau curves frame tall double doors that lead through to the dining area. Here the focal point is a grand open fireplace – a statement of hammered copper and marble. Dark wood bobbin edged bookcases line more creamy walls, with an array of art books, vintage lamps, and ephemera relevant to the period. Bench seating wraps its way around the room, with tables adorned with a single hydrangea, in the softest sigh-inducing pink. With a central marble pedestal table, the space is cool, calm and contemporary, whilst capturing the feel of a Parisian salon.

Leaving the decorative design details on the ground floor, the 37 rooms and suites, across five floors take a far more pared-back approach. Entering through wooden doorways that reject the rigour of straight lines in favour of sinuous Nouveau curves, the palette continues with the soft cream. However, having been seduced by the delicate frivolity below, I couldn’t help feeling in the absence of the pretty bobbin mouldings and detailing, the delicate frivolity of the floors below is missed, yet the change of pace in the rooms allows for a more subdued space to rest one’s head.

With 7 categories to choose from, ranging from Superior Room to the Sky Suite, they are all well-appointed, and lit with bespoke Murano glass lighting. Underfoot, rattan patterned carpeting in a rich burnt orange adds a welcome splash of colour and leads through to surprisingly bold bathrooms, incorporating rich orange tiles.

Like the Norman Hotel, down in the basement is a thoroughly stylish wellness area. The pool area offers a sauna and dip pool under a swathe of arches, and two Omnisens treatment rooms. The gym, where even the equipment that sits on cork flooring appears curvaceous, is all lit by an array of vintage lamps which certainly enhanced my feeling of wellbeing.

For a bespoke boutique experience, in central Paris, both hotels hit the mark on so many levels. Original and beautifully considered in both design and service, they successfully blur the lines between contemporary and traditional, all done sans nods, winks or clichés.