JEAN‑LOUIS DENIOT
2 l Bureau Orgues laqué à la main.
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3 l Lampe Oculus tout en rigueur formelle.
4 l Le fauteuil Orillon très pratique, car pivotant.
5 l La méridienne Odessa, d’inspiration brutaliste.
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lighting naturally led him to collaborate with manufacturers like Baker and Pouenat and, today, to take the bold step of launching his own design company. “In fact, the decision was spurred by a simple observation – there was a gap in the market. There is so much potential: side tables, nightstands, centerpieces, lovely decorative candle holders... I’m starting with about thirty pieces, but the range will expand over time as, while I design this first collection, future ones will be created by others. The idea is to invite designers and artists to collaborate.” Hence the name Quai d’Orsay, as the brand operates independently of the design agency. Quai d’Orsay... A name perfectly suited to this ambassador of French craftsmanship. The allusion is subtle, as probably few international clients realize that, in France, “Quai d’Orsay” refers to the Ministry of Foreign Affairs – but Jean‑Louis Deniot nonetheless likes the reference. However, although his offices are now on Quai d’Orsay, this is not where his creations are displayed; he continues to showcase them in Rue de Verneuil. “And did you notice the logo? The tail of the ‘Q’ cuts across the ‘O,’ imitating the Seine flowing through Paris.”
him to leave Paris for New York, he had no intention of severing his roots. When he started out in the year 2000, his business was located in the capital’s little Rue de Verneuil. Twenty years later and a multitude of projects later, he moved his offices – now twice the size – to a building overlooking Pont Alexandre III at the junction between Quai d’Orsay and the Invalides Esplanade. Needless to say, his international clients are enthralled when they come to visit. Jean‑Louis Deniot…the “French Touch.” A graduate of the École Camondo, he drew his inspiration from the French aesthetic par excellence, and 20 th ‑century masters of decorative arts such as Jean‑Michel Frank, André Arbus, Marc du Plantier... “and Gilbert Poillerat for a lyrical touch!” His numerous projects in the United States opened up new horizons and introduced him to new references; he is equally enthusiastic about Vladimir Kagan, Paul Evans and Robsjohn‑Gibbings. The scale of the residences he worked upon prompted him to design his own sofas, console tables, coffee tables and lamps for rooms that demanded bespoke pieces... The American influence transformed his interiors, lending them a greater modernity although, he points out, “I maintain my personal singularly French sensibility.” His ease in designing furniture and
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