The designer charm of Pierre Yovanovitch’s Château in Provence

At the time, Pierre Yovanovitch had just returned home to Provence from Los Angeles, where he traveled for a new project and to visit the Frieze Art Fair. The esteemed ambassador of French style spends a lot of time traveling, and this moment, as he confided in me, was a welcome chance to relax, as he would be returning to the office the following week to dive into numerous exciting plans he and his team were working on. At the forefront is his project of set and costume design for the National Opera of Korea, specifically for Le Nozze di Figaro (which premiered in Seoul in March). He doesn’t hide how happy he feels to work on projects that are both challenging and inspiring. “This is the second time I’ve had the opportunity to collaborate with director Vincent Huguet, and also my second set design for an opera. The production includes 53 costumes and numerous complex scenographic elements — it’s a significant undertaking, but also incredibly fulfilling,” he shares with me, as this long-time opera lover now watches with satisfaction as all these elements come together.

Interestingly, although Pierre has been enjoying a successful international career as an interior architect and furniture designer for many years, it all actually began with fashion, guided by none other than the great Pierre Cardin. He spent eight years with Cardin, first as the manager of licensed men’s collections for the Benelux market, and then as a designer of his men’s fashion collections. “I like to say that Pierre was an architect of clothing. He had an exceptional understanding of geometry, volume, angles, and curves — that way of thinking definitely influenced my approach to interior design. He also had an incredible ability to combine colors, patterns, and details. Working with him instilled in me a deep respect for classical architectural forms, the importance of taking risks, and the discipline that allows one to push boundaries while maintaining balance. His influence shaped my approach to interiors: precision, structure, and respect for symmetry — but also spontaneity.”

Everything Pierre mentioned is somehow reflected in this beautiful French château, Château de Fabrègues, dating from the early 17th century, which he calls home and which he opened to the media for the first time on this occasion. Located near the village of Aups, at the southern foothills of the Alps, the château once belonged to the Fabrègues family (after whom it is named). He tells me how he was enchanted by the minimalist spirit of architecture from that period, as well as the fact that the property is relatively close to Saint-Tropez and Nice — where he’s from (although his father is of Serbian origin) — yet at the same time wonderfully isolated. “The location, the silence, and the scents of the forest are magnificent. Given the demands of my job and constant travel, it’s important for me to find balance in nature, and in this region, I feel most grounded.” Pierre’s passion for restoring historic homes is visible in every corner of this paradise, and his authentic design approach lies precisely in adapting it to the present time.

“Above all, it’s a quest for beauty,” Pierre shares his poetic approach to work and continues, “while preserving history and sustainability are certainly important, my primary motivation is aesthetic — historic homes possess a natural elegance that transcends nostalgia. They were built according to different principles: more space was available, only certain natural materials were used, and construction techniques were refined over centuries, brought almost to perfection.” Although in his professional work he always engages in a dialogue between his vision and the client’s wishes, here at Château de Fabrègues he designed exclusively for himself. “This is a place where time flows differently — there are no external deadlines except for my own impatience.”

Pierre’s recognizable style is often described as a blend of minimalism, warmth, and sophisticated ideas, and what personally appeals to me is the connection with historical design, especially the influences of 20th-century American designers. Pierre, however, defines it as a “rigorous and eclectic style” based on an intuitive approach to design. “Since founding my agency in 2001, I’ve sought to establish a balance between seemingly opposing forces — simplicity and sophistication, luxury and modesty, warmth and strictness, poetry and structure. Over time, I’ve gained confidence in emphasizing those contrasts, especially in the use of color and textures and in combining contemporary and historical elements. But the foundation remains the same: curiosity and attention to detail.”

I reflect on how much I love when someone highlights curiosity as a method, as we continue to discuss how understanding historical design is crucial. “My passion for early 20th-century American and Nordic design stems from that belief. I particularly admire the Swedish Grace movement from the 1920s, a lesser-known style that merges minimalism with exceptional craftsmanship. My love for Nordic design was further shaped by my friendship with Eric Philippe, a gallerist specializing in Scandinavian pieces, whose expertise has broadened my perspective,” Pierre shares, and then moves on to mid-century American designers like Paul László, Paul Frankl, and Edward Wormley, whose boldness greatly attracts him.

“Their ability to combine materials — cork, steel, ceramics, and wood — deeply resonates with my approach to furniture design. For example, Frankl’s cork and oak coffee tables I consider a fascinating exploration of texture and proportion. Ultimately, my work comes down to creating interiors that are both relaxed and deeply personal — spaces that blend precision with character, simplicity with a lasting impression.”

When it comes to character, there is probably no better way to emphasize it than through art. Pierre agrees on how inseparable art and design are: “Art gives a space its soul. Unlike classical works, contemporary art brings an element of radicalism, controversy, and layered meaning that can transform a space.” Pierre’s interiors are artistic, and the works he uses come from trusted galleries, while others are commissioned specifically for certain spaces. He highlights collaborations with artists like Claire Tabouret, Alicja Kwade, Matthieu Cossé, Tadashi Kawamata, Johan Creten, Francesco Clemente, and Giulia Andreani on various projects, including his own home. “Beyond interiors, art brings tension and energy into a space. A well-designed interior is based on balance — between beauty and functionality, elegance and comfort, modernity and classicism. Art contributes to that balance while also adding an element of the unexpected.”

Since we are essentially talking here about timeless aesthetics, Pierre reveals that he has always been drawn to classical, modern, and contemporary artworks, objects, and structures, but that his choice depends more on the strength and quality of a piece than on its period. “For me, a successful interior is not defined by a specific epoch but by the harmony between past and present, tradition and modernity. That’s what gives a space its timeless character.” After a moment of reflection, he adds that timelessness also comes from working with natural materials and avoiding passing trends. “I give priority to craftsmanship, ensuring that furniture and interiors age with dignity rather than quickly becoming outdated.”

With offices in Paris and New York, Pierre Yovanovitch’s projects span the globe, including residential, hospitality, scenographic, and commercial projects. I ask him how he chooses the projects he wants to work on. “A project is a meeting point between the place, the owner, and myself. I choose projects when I feel that my relationship with the owner and the space will be pleasant and productive,” he answers. A new step in his career came in 2021, when he launched his own furniture brand, Pierre Yovanovitch Mobilier (something admirers of his work enthusiastically welcomed). During that period, the designer also opened the doors of his first furniture showroom in Paris. It was an opportunity to prove that materials and craftsmanship are at the core of what he does, with everything he creates made to the highest standard of quality. “Design is closely tied to the exceptional skills of artisans, through which we strive to promote the art of living and craftsmanship worldwide. That’s something I am deeply committed to.” Creatively speaking, his designs are, as he likes to describe them, “playful and light, but they remain functionally grounded.”

For someone who works a lot, diversely, and thoroughly dedicates himself to every project, Pierre emphasizes that the secret lies in embracing the challenge. “It’s probably in my nature that when things become easier, I find a way to make them challenging again. Perhaps the other side of creativity is that you can never be completely satisfied with what is.” As a balance to these daily challenges, Pierre spends the first two and a half hours of his morning alone, slowly preparing for his obligations but mostly taking time for daydreaming and reflection. After that, his typical day generally consists of meetings with his team or clients, designing, reviewing, and refining projects or furniture designs.

And what’s the most beautiful thing about the Château de Fabrègues estate? You don’t know whether you’d rather spend hours inside observing all those site-specific artistic corners or admire the sprawling gardens and greenery surrounding the castle, wandering through these scenes for hours. I imagine gatherings and stays at Fabrègues, which Pierre, alongside visiting exhibitions, reading books, and going to the opera, highlights as his favorite rituals for relaxation and recharging. I couldn’t agree more.

Another aspect — discreetly and stylishly woven into the work of this meticulous designer who practically never puts down his suitcase — is travel. For Pierre, work and travel are so intertwined that they’re hard to separate. Yet, he greatly enjoys discovering new places. “Venice immediately comes to mind — I’ve been there many times, and it never fails to surprise me. You’re never done with Venice.” Somehow, that answer didn’t surprise me at all. Pierre adds to this list cities that strongly influence his work. “Ljubljana, Stockholm, and Helsinki. Also on the list: New York, Chicago, Vienna, Tokyo, Rio… and so on, infinitely.” Observing this grand estate, which subtly and uniquely reveals parts of its owner’s character, I didn’t miss the chance to ask Pierre one very simple (or perhaps not so simple) question — what are the three things every home should have to be both comfortable and functional?

“A home should feel intuitive and easy to move through. Thoughtful spatial planning ensures that each room has its purpose while maintaining a sense of spaciousness and comfort. I always strive to create a natural flow between spaces, balancing structure with warmth. Comfort is deeply linked to the texture of materials and the way they respond to light. Natural materials — like solid wood, linen, wool, and stone — create a richness of sensation that makes a home inviting. I like to combine different textures to add depth and warmth while maintaining a refined and timeless look. A home should reflect its owner’s individuality. Whether through art, vintage pieces, bespoke furniture, or collected objects, these elements should tell a story.”

Will individuality remain present in an increasingly globalized and technology-oriented world? I’m not sure, but Pierre sees the future with a greater focus on real, tangible spaces and the comfort of one’s immediate environment. “For me, that’s the true beauty of interiors,” he says, and continues: “Social media and technology connect us more than ever, but they can also create a sense of isolation. Thoughtful interior design can counteract that by encouraging warmth, intimacy, and a sense of belonging. More than ever, people are seeking interiors that are personal, comfortable, and a reflection of their lives — spaces that provide a refuge from the fast-paced digital world while enhancing everyday experiences.” Absorbing every warm hue and soft line of Château de Fabrègues, it became completely clear what kind of sanctuary he was talking about.