This hybrid space, which celebrates the Parisian art of living, is spread over four floors comprising a boutique, a design studio and two private suites. The interior design by Necchi Architecture focuses on a sophisticated and refined vintage style.
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Exclusively for the Cinabre Suites, La Maison Pierre Frey has opened its archives and reissued two prints dating from the 18th and 19th centuries: The first reproduces a polychrome toile de Jouy, printed by Oberkampf around 1785, renamed REVERIES INDIENNES.
The second RAYURE MALMAISON reproduces a pattern used in the entrance hall of the Château de Malmaison to evoke Napoleon Bonaparte's camp tent at the turn of the 19th century.
Beyond its collections, Maison Pierre Frey offers clients a fully dedicated department for bespoke projects.
This creative and technical unit brings together experienced textile engineers and designers whose mission is to conceive and develop exclusive solutions (adapting existing designs to new materials, creating original patterns, color adaptations, and producing creations based on archives or original designs) tailored to the requirements of a project with specific standards (hotel, restaurant, etc.).
Interview with Anna, textile designer for the Maison's Custom Orders:
How did the process of reproducing the Toiles de Jouy RÊVERIES INDIENNES and RAYURE MALMAISON unfold?
The journey began in the archives, during a meeting with Sophie Rouart, Head of the Heritage Department at the Maison. The client was introduced to a carefully selected array of historical documents and chose a Braquenié motif from our collection, an exclusive design that had never been reprinted. This original period drawing, though delicate with age, was torn in places and softened by a yellowed patina. It became the foundation for the entire reproduction process.
What was the biggest challenge you faced in this project?
The real challenge was transforming this old archive, once screen printed by hand, into a modern, contemporary fabric. It demanded a meticulous process of digitization, removing imperfections, updating the pattern repeat, and developing tailored color proposals for the client. Several cotton fabric tests followed, each step bringing us closer to the final design. The once anonymous drawing, simply identified by its inventory number, was reborn as Rêveries Indiennes.
How did you feel when you first saw the finished products? Were there any memorable moments during the manufacturing process?
My first reaction was one of sheer intensity. After spending days refining a drawing and months overseeing the project, you start to imagine a particular outcome. The beauty of this craft is in seeing the design take on new life, unexpectedly, vibrantly, and in a way you never imagined. With Rêveries Indiennes, the emotion was especially profound, as the design truly came to life, honored and celebrated in a way that felt deeply satisfying.
