Pierre-Yves Rochon: “You Don’t Design for Yourself”

Summary

Podcast Summary: Pierre-Yves Rochon on "You Don’t Design for Yourself"

Title: The Grand Tourist with Dan Rubinstein
Host: Dan Rubinstein
Guest: Pierre-Yves Rochon
Release Date: June 18, 2025
Episode Title: Pierre-Yves Rochon: “You Don’t Design for Yourself”

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Introduction to Pierre-Yves Rochon

In this episode of The Grand Tourist, design journalist Dan Rubinstein sits down with the esteemed Paris-based interior designer, Pierre-Yves Rochon. Renowned for his exceptional work in luxury hospitality, Rochon's portfolio boasts iconic properties such as the Four Seasons in Florence, the Savoy in London, the St. Regis in Rome, and the Shangri-La in Paris. His designs are celebrated for blending traditional elegance with modern sophistication, setting new standards in the hospitality industry.

Early Life and Influences

Rochon's international upbringing significantly shaped his design sensibilities. Born in Brittany, France, his childhood was marked by frequent relocations due to his father's military career. "When I was a child, the fabrication of myself was in Africa, on an island—Madagascar," Rochon shares (03:00). These diverse cultural experiences exposed him to a variety of architectural and artistic styles from an early age.

Rochon's passion for art and design was evident from his youth. "When I was a child, I never played with small toys like cars or soldiers. I was always dreaming and drawing," he recalls (05:07). This artistic inclination set him apart from his peers and laid the foundation for his future career in design.

Education and Early Career

After studying in Toulouse, Rochon founded his own firm in the late 1970s. Prior to this, he spent a decade honing his skills under one of Paris's top interior designers. "From 69 to 79, I worked for one of the best interior designers in Paris. I learned to design every detail," Rochon explains (11:29). This period was pivotal in developing his expertise in modern design, characterized by innovative use of materials and vibrant color palettes.

However, after ten years, Rochon sought to establish his unique style, leading him to branch out independently. "I wanted to do something else. I wanted to explore colors beyond blue—red, yellow, green, pink," he states (13:55). This decision marked the beginning of his distinctive approach to interior design.

Design Philosophy: "You Don’t Design for Yourself"

At the heart of Rochon's design philosophy is the principle that "you don’t design for yourself" (00:00). Instead, he emphasizes designing for the client and, more importantly, for the end-users—guests and hospitality staff. "I design for my client who gives me the confidence, but not only for the client, you design for the people who work in hospitality," Rochon states (00:00).

This user-centric approach ensures that every aspect of his designs enhances the overall guest experience. Whether it's a hotel lobby or a restaurant, Rochon meticulously considers the journey guests will undertake, aiming to create a seamless and memorable experience.

Notable Projects

Rochon's illustrious career includes designing some of the world's most prestigious hotels. One of his signature projects, the Georges Cinq in Paris, exemplifies his ability to blend French heritage with contemporary elegance. Reflecting on this project, he says, "I have two clients, His Highness and Isidor Sharp, and I needed to bring both together to create the Georges Cinq" (31:30).

Another landmark project is the upcoming redesign of New York's Waldorf Astoria. Rochon describes it as "the number one honor" and outlines his vision for transforming the historic Art Deco masterpiece into a modern luxury destination while preserving its iconic grandeur (32:35).

Approach to Hotel Design

Rochon's success in hotel design stems from his comprehensive approach that prioritizes the guest's narrative journey. "What should be the journey that's the beginning," he explains (18:37). This involves a deep understanding of the client's vision, the hotel's target audience, and the operational needs of hospitality staff.

He collaborates closely with general managers, bartenders, and restaurant staff to ensure that every design element—from lighting to furniture placement—aligns with the desired guest experience. "If I'm going to design a bar, I'm going to the bartender and ask what you want me to do. You need to listen to take care of the others," Rochon emphasizes (18:37; 19:00).

Restaurant Design and Collaboration with Chefs

Rochon has worked with renowned chefs like Joel Robuchon, Alain Ducasse, and Jean-Georges, integrating culinary excellence with exceptional design. "The first is a chef. It's not the design, but the chef drives the restaurant's success," he notes (23:06). He believes that the ambiance of a restaurant should transport diners, making it "a time out of the world."

Key elements such as lighting, music, and spatial layout are meticulously crafted to complement the culinary experience. "When you go into the restaurant, it should feel like attending an opera. Music, lighting, comfort—all these contribute to the overall experience," Rochon explains (23:22; 24:00).

Current and Future Projects

Rochon is actively involved in several high-profile projects. His work on the Waldorf Astoria's transformation is particularly noteworthy. He envisions the hotel as a blend of classic grandeur and modern luxury, with revamped guest rooms that offer spacious layouts and state-of-the-art amenities. "A minimum of 600 square feet with a beautiful bathroom... more like a studio residential," he describes (35:17).

Additionally, Rochon is preparing a special exhibition at Milan's Salone del Mobile, titled "The Luxury Way." This pavilion aims to highlight the intersection of heritage and contemporary design, featuring an Italian villa-inspired layout complete with terracotta elements and ambient sounds. "Every room has its own story and color... it's a journey into my mind," he shares (38:13; 44:12).

Design Exhibition: Luxury Way

At the Salone del Mobile, Rochon's "Luxury Way" pavilion serves as an immersive experience, blending architectural beauty with sensory elements. Visitors navigate through a carpeted villa surrounded by gardens and live bird sounds, creating a serene atmosphere contrasted with the bustling fair. Each room within the pavilion tells a distinct story through color and design, reflecting Rochon's multifaceted approach to luxury interiors. "When you're coming first to the lobby, terracotta, a big marble statue... it's a beautiful journey," he explains (43:40; 44:46).

Conclusion and Future Aspirations

Looking ahead, Pierre-Yves Rochon remains passionate and driven, continually seeking new challenges in the design world. "I love what I'm doing and I always want more. I'm ready for new challenges," he affirms (45:03; 46:04). His focus remains on innovation and enhancing guest experiences, striving to blend luxury with genuine hospitality.

Rochon's commitment to excellence and his ability to harmonize aesthetics with functionality ensure that his designs will continue to set benchmarks in the hospitality industry.

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Notable Quotes:

• "You design for your client who gives you the confidence, but not only for the client, you design for the people who work in hospitality." — Pierre-Yves Rochon (00:00)

• "When I was a child, I never played with small toys like cars or soldiers. I was always dreaming and drawing." — Pierre-Yves Rochon (05:07)

• "I wanted to do something else. I wanted to explore colors beyond blue—red, yellow, green, pink." — Pierre-Yves Rochon (13:55)

• "What should be the journey that's the beginning." — Pierre-Yves Rochon (18:37)

• "The first is a chef. It's not the design, but the chef drives the restaurant's success." — Pierre-Yves Rochon (23:06)

• "You can write the best partition of music. If you're not a good conductor, your music can be problematic." — Pierre-Yves Rochon (35:30)

• "I love what I'm doing and I always want more. I'm ready for new challenges." — Pierre-Yves Rochon (45:03)

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This summary captures the essence of Pierre-Yves Rochon's insights and experiences as shared in his interview on The Grand Tourist. For a deeper dive into his design philosophies and projects, listening to the full episode is highly recommended.

Transcript

[Pierre Yves Rochon]

You design for your client who gives you the confidence, but not only for the client, you design for the people who work on the hospitality. If I'm going to design a bar, I'm going to the bartender and say, okay, what the people like, what you want me to do? You need to listen to take care of the others.

[Dan Rubenstein]

Hi, I'm Dan Rubenstein and this is the Grand Tourist. I've been a design journalist for more than 20 years and this is my personalized guided tour to the worlds of fashion, art, architecture, food and travel. All the elements of a well lived life. In the post pandemic age, we're experiencing a true travel boom, especially in the world of luxury. It seems like every time I open my inbox, I'm flooded with announcements of a new five star luxury hotel opening somewhere from Paris and New York to remote islands or isolated chalets. And when it comes to designing hotels, there's one name that stands above the rest, especially when it comes to more traditional interiors. Paris based legend Pierre Yves Rochon.

[Interviewer]

His CV reads like a list of.

[Dan Rubenstein]

Triple platinum properties from around the world. The Four Seasons in Florence, the Savoy in London, the St. Regis in Rome, the Shangri La in Paris. And his signature and probably most referenced hotel, which set a new standard for historic revivals and hospitality, the Four Seasons. Georges sank in Paris, opened in 1999 in a historic 1928 building. Mr. Rochon had a rather international upbringing following his father who was in the French military around the globe. He studied in Toulouse and opened his own firm in the late 70s. As you'll learn today, he sees his hotels as movies of a sort that are full of life, inspired by his love at the cinema. More on that later. In all, it's that French effortless feeling, sense of style that probably guides him more than anything. As he once explained to Hospitality Design magazine, he looks for, quote, a sense of emotion and a challenge. I never design just for design. In 2016, his namesake firm became part of the massive and massively respected American architecture firm Perkins and Will. The always debonair Mr. Rochon was also the talk of Milan's Salone del Mobile in April when he designed the Villa Heritage, a massive pavilion exploring the right way to design with the traditional eye. And later this year, one of his biggest accomplishments to date will be revealed in New York, the long awaited redesign of the Waldorf Astoria. I caught up with Pierre Yveson from his offices in Paris to discuss his yearning as a young man to play the guitar. How he later rebelled against his own modernist education in Paris. Restoring the grandeur of Manhattan's most famous Art Deco masterpiece and more.

[Interviewer]

I've been reading a lot about you and profiles about you. And I heard that you grew up in Brittany, in France. Can you tell me about perhaps your earliest memories as a child between Brittany.

[Pierre Yves Rochon]

And the rest of the world? Because when I was a child, the fabrication of myself, if I may, was in Africa, in an island is Madagascar. And my mother came back to Brittany.

[Interviewer]

Why Madagascar?

[Pierre Yves Rochon]

Why? For two reasons. My. My father was a pilot on the army. And my grandfather was a surgeon at the Hospital of the Tananarive in Madagascar. So this is, I suppose. And when my father came from UK from London, because he was with the General de Gaulle in London, they went to part of France. At this time, if I do understand, they need the. Come on. The liberation of this country, you know, because at that time it was not so. My father married, of course. My mother was the daughter of the surgeon of Madagascar. And this is why I was there. And after. So I came to, if I do understand, to Brittany was born a small city. The Poulain is south of Brittany. And I came back by the beautiful cruise ship, by boat back to Madagascar. And after that I was in Morocco and I was in Dakar in Senegal. I was in Conakry. I was also in Algeria, so different country. Following my father, who was colonel on the army. Pilots and colonel. So mostly all my neighbors when I was young was out of France, except sometimes for vacation for two, three months in Britanny, south of Brittany.

[Interviewer]

And I read that when you were a child, you were fascinated by things like sculptures and ceramics, that you spent more time with your things rather than other children.

[Pierre Yves Rochon]

When I was a child, for sure, I never play with the. The small toys, like the car. I never play with the soldiers. Never play to be, you know, with what normally the young boy doing. I was always dreaming. And I draw. I was to do, I don't know, in English, modeling, all the arts from when I was six, seven or maybe always. I was interested only by this part of the life. Nature, art, you know, things like that. I was not playing with the other way. Normally the boy is doing.

[Interviewer]

Do you think that that was a part partly because you had moved around a lot to different places?

[Pierre Yves Rochon]

No, not only that, because my brother, my oldest brother was a very strong boy. Make all the mistake he can do okay, outgoing job. So we have the same life. So my thinking is, no, I was always interested by other things.

[Interviewer]

And did you play guitar when you were a child or a young man?

[Pierre Yves Rochon]

Yes, yes. Not very young, but around 14. I tried to buy a guitar who was not easy for the family. Because, you know, this type of family, you should not play guitar music you should do. You should be an engineer or doctor, nothing else. You cannot go to dance, you cannot do anything. The music and art very strange for the families.

[Interviewer]

With a father in the military and a mother who is a surgeon, Right?

[Pierre Yves Rochon]

My mother, she was the wife of the colonel. Okay, yeah, but she was interested by the people. I have not the right word in English to explain her life. She was Catholic, but she was next to the people and always interesting by the life of the poor people. Yes, because compassionate. Yes, exactly. And she was the daughter of the surgeon, so she have this DNA.

[Interviewer]

And you know, before you became a designer, I read that you wanted to be a film director. Or I was wondering as a child, when you were. Or a young man, when you were going to the theater. And are there any movies in particular that you. That you particularly impacted you favorite films?

[Pierre Yves Rochon]

When I was teenager, the beginning, immediately I knew what I want to do. You know, sometimes the teenager doesn't know what they're doing they can do. But for me, I'm lucky, because I know what I want to do. And as you mentioned, I want to be a movie director. But the problem for DAS in France, the education you should do. You should be very good on the mathematic at the school. And even that's not the case, because when you are artist or when you feel the art, you are not very good to do the mathematic. Okay, you know, so that's why I was quite disappointed, because I cannot do my dream. So at that time, if you ask me the movie, strangely, I was very interesting by the Italian movie. I don't know why. The 50s, the 60s, I think I love this. This type of movies. And this is why after that, I like the Italian director. And different, of course, I love Visconti. Because Visconti for me, I never met him. It was my dream. I tell you why that the sensibility, the music, the beauty of the decor is not just a director of an actor, but it's a complete. And this is what we try to do now as the interior designers. The people told me sometime on the movie with Visconti, if you have an actor like to smoke. So when he need to smoke, when he open the drawers, basically put everything like a smoker. So that means the actor can really feel behind that is a detail, is a sensibility of this director. And the music also always, if you See, all the film is direct, always the music. So this is what's very intriguing about that. But sometimes Fellini, I love Fellini too, is a reader. So I think that's what I'm interesting is not by just one type of music, one type of. It's just the creativity. Because Fellini is incredible. Also I can speak for everyone. So that means that was interesting. But that's for sure.

[Interviewer]

And you opened your firm in 1979 and you worked for other people before. So I was wondering if you could explain what the 1970s were like in terms of the design culture in France at the time.

[Pierre Yves Rochon]

Okay, that's true. When I leave the Beaux Arts school, I was quite young for this. And for 10 years, because from the 69 to 79, I worked for one of the best interior designer in Paris. I learned, of course, with this gentleman. And that period was really the design, the modern design. It was no classic. For example, the first things when I was in a boza school. Strangely, I not learned all the classic parts of our heritage. Very strange. It's not right, but is the case.

[Interviewer]

So you learned contemporary design and you worked for contemporary designers.

[Pierre Yves Rochon]

And for 10 years with this gentleman. I love this period. We design every detail. It was a creation from the 70s, you know, this period, the 70s, 80s. You can recognize today the design of this, the new material. It was very interesting and was lucky because we have beautiful project like the Rothschild family bank. So I was in charge of all the Rothschild bank. High quality. But for sure it was one type of the design. It was a pure creativity for the art, for the design, for the color, for the materials from this period. So it was. I was very. I love very much this period. But one day I said, I was sure for 10 years after that I want to be myself. So that was this side. From day one, I did. Is an image a blue. Ten years, always blue.

[Interviewer]

Just using the color blue.

[Pierre Yves Rochon]

Yes. That means I always did the same things. When you. When you design a contemporary, a new design, sometimes you are commonly prison prisoner. A prisoner of your style. You don't do an evolution of just. And after you do always the same thing. You have the painter, the artist. If you take Dubuffet, for example, everything of the buffet. Maybe somebody would be shocked to listen me to that. But it's Dubuffet. It's never beautiful flowers, he never paint. Or it's always. So after 10 years, I was thinking, I'm doing always the same thing and I want to do something else. I want to do red, yellow, Green, pink. Not only red. No, pink, green, yellow, purple. So I said to him, because I have very good relation with him and I was number two. I said, I want to do the other colonel. No, no, no, we do together the best blue. So I left.

[Interviewer]

And then what was your first commission on your own?

[Pierre Yves Rochon]

My first commission on your own was two French subjects and one abroad. The first one is Chateau de Crier in Reims. Reims is the capital of the Champagne and that was to transform a castle on very French. And imagine, until today I'm working on this project more than 45 years later on I was with the family, with the father, and now I'm working with the sons. That's one project. The second one was for the American company Caterpillar. Completely another subject. Head office of Caterpillar in France. Okay, yes.

[Interviewer]

So the construction, big project.

[Pierre Yves Rochon]

Construction, you know. So it was completely another way to drink the champagne on the chateau. And the third one, I win Carlton in Cannes with Intercontinental and in Oman in Muscat, a beautiful property was on the construction Al Busan and win the project. So immediately, as you can see, three different life, three different design. And that was my dream. I don't want to do only one type of design and I was lucky to have that and successful. If I don't understand.

[Dan Rubenstein]

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[Interviewer]

What is it about a hotel in particular that has made you so renowned for this kind of particular type of work? Why are you so good at doing a hotel?

[Pierre Yves Rochon]

Hello. Thank you. Tut and me, I'm sood because I think about the others. I'm not thinking about myself. The first I'm dreaming about the client. The first I listen the client is order to me to do the job. But more than this, what should be the customer who is coming to this hotel, what they want? If it's me when I open the door, what should be the journey that's the beginning. And I really think about this narrative. And you don't design for yourself, you design for your client who gives you the confidence. But not only for the client, you design for the customer, the people who is going to live in the hotel. And I'm always like this. I say, okay, I'm push the door. Is a classic hotel, is a contemporary hotel, is a urban hotel, is a resort, is what, what should be and what should be Lachione there if I leave there and why I will come back what I can. So you need to think about your clients. And I think that is a part of success. The second part of the success is the professionality. I'm always listen the people who work on the hospitality. General manager. I'm always listening. If I'm going to design a bar, I'm going to the bartender and say, okay, what the people like, what you love, what you want me to do. It's the same for the restaurant. The restaurant, what is the menu, what you want to serve, what should be. You need to listen to take care of the others. And after that that translates.

[Interviewer]

What makes a hotel that you have designed particularly French? What is the French element to your designs?

[Pierre Yves Rochon]

It's two possibilities. It depends also the the subject. Because when you design a hotel, where you need to is an iconic hotel and you decide to bring back the DNA of the past definitely is French. The approach part, because we have at home your grandmother, your family, you have chase of travels from the 18th century. You live when you walk on the street in Paris, you have the beautiful building and give you the DNA of the heritage of the past. So that's France. If I'm in New York, if I'm in Chicago, I have not this DNA. I don't know if I explain myself clearly, but this is why at the end, the approach of any project is a part of our education. So it's not the same education as an American designer, for example. And of course, the traduction is different.

[Interviewer]

And you've worked with a lot of chefs like Joel Robuchon and Alain Ducasse and Jean Georges on restaurants. And because you work with so many great chefs, what can you tell me about what makes a great restaurant successful? What makes these designs really work?

[Pierre Yves Rochon]

The first is a chef. It's not the design, if I may.

[Interviewer]

Because a lot of chefs that I've interviewed, they all take the design of their restaurants very seriously, and they really consider it. It's not something they just, you know.

[Pierre Yves Rochon]

No, they are completely right. I think when you go into the restaurant, it should be a time out of the world. If you go to. If you go into the evening. And for me, when I'm a wife, so what is the way to bring me to the table? What the word, what they said when I'm sitting on the table, if it's night, what is the light? What I can go, What I am going to see around? Where is the neighbors? Is it next to me? Is it far away? Is it what I feel? Of course, that's the first impression. And. And as a designer, we need to do that. And after that, this feeling you have before to check the table, what you have on the table, and as a first approach, the lighting, maybe the music, everything is a part of like an opera you are going to. You're coming to the opera to have a beautiful dinner. For me, music, lighting, comfort of the space, the space around, that's the beginning. And after that, the service. The best service.

[Interviewer]

Oh, the best service is that you don't feel it. Right? Okay.

[Pierre Yves Rochon]

Yes. Believe me, if you pass with a friend and you don't remember, the waiter was beautiful girl, you don't know, but it was so nice. That is a service I can expend all of these four hours. But you know, that is a part of the chef, because the chef is not only on the kitchen with Joel Robuchon. Because you mentioned Joel Robuchon. The light we check together. For me, the music, everywhere I'm going to the restaurant is sometimes not nice for the people who's coming with me, because it's too loud. This is bad. This is this, that's all this after that, the weight to serve, the plate, the Chanel, the food, all the sequences, all of this. And the chef. There are more and more artists and the chef, an enormous evolution for the chef. Imagine they choose a vegetable. There's the salt, sugar. And at the end, when they bring you on the table is a piece of art. And this is why the interior designer work with the chef. And you can see also he's quite interesting by every detail. The older chef I work the interesting by all the details because that's the success of the restaurant is every detail. As I mentioned, the light, the music, the sound, the space, the way to serve and of course the food.

[Interviewer]

And one of your most famous hotels is the Jour Sanc in Paris. And can you tell me the story about how that hotel came to be?

[Pierre Yves Rochon]

Yes, just before one hotel. That is a long time ago. So I don't know now if you can compare that. What I'm going to say it was in Hong Kong. The recent in Hong Kong in the 80s, I think was a dream dream by the architecture quite contemporary with the touch of the Chinese influence. Contemporary. The bedroom was minimum 650 square feet.

[Interviewer]

Okay.

[Pierre Yves Rochon]

Minimum view on the wall with all the traffic, all the towers. Bathroom a dream size. Walking, dressing thus and the service a dream. At that time, the Oriental, you know, the ferry services was very, very. I do remember. That's beautiful Italian. I think now it's an intercontinental exchange. But at that time it was new that the region was at the top of. Anyway. So now back to Paris and the Georges Cinq. So the Georges Cinq I was on competition, I think with six or seven designers. And I was interviewed by two people. His Highness the Prince Al Walide around midnight and with Isidor Sharp around noon. I hope you see and both design. I will be the designer of the Georges Cinq. Georges Cinq was the first four season mostly in Europe. One was in London and I did after a work. But in Paris for sure it was the first time and in Europe just London, four seasons. What was interesting is to keep the DNA of Paris. Thus His Highness and his d' Harpe want and on the same times less dusty French design. I hope it's clear what I see.

[Interviewer]

And how do you feel you executed that wish.

[Pierre Yves Rochon]

I think it was very interesting for me. Number one, I was proud. Why? Because it is for me the Der Sharp is the best of the best curator on the hospitality. After that I work with him as an extraordinary gentleman. So I learned a lot. Four Season at that time was I think on the word the excellence of. Of the hospitality. More sometimes than the palaces in Europe or in Paris who was tired and not so I was. I learned a lot with four Season. I went many times to Toronto and the way they work. But on my way. Strangely, I Was not good on mathematics, but I'm good on organization. And I'm not very Latino French. I'm more the other way. And the Prince everybody told me, oh, you work with an Arab, you are going to do a Gold Hotel. No. Extraordinary gentleman, extraordinary experience. And it was interesting for me because I have two clients is Arines who pay me and is it Dorchapp who choose me? And I need to bring both together and do the Georges sank.

[Interviewer]

And how do you feel you brought those two things together.

[Pierre Yves Rochon]

What was the to respect everyone. So I hope I was a good ambassador, by the way by two top people. They don't need me. But at the end I try to be the ambassador because the people stay a human being. You can be the top of the world. You are human. And sometimes I hope I was the ambassador through my professional design.

[Interviewer]

And obviously as a New Yorker. I have to ask about the Waldorf Astoria.

[Pierre Yves Rochon]

Yes.

[Interviewer]

Because this has been in the planning the restoration for quite some time, which will open this year. And tell me about taking on this New York icon. Just the name itself is such a name in American luxury circles, I guess you could say.

[Pierre Yves Rochon]

Or the lexicon number one again is an honor for me to win this project. And I know how much I'm lucky. And the responsibility to do this project. That's the first. 35, 30 years ago I was with my wife. I slept to the Waldorf and on the lobby who was completely 30s. Because I love the 30s. Also I said to myself, I don't know why. I promise you it's true. I will do this project one day. We love to do this project. It's really true that happens the way we economically the wealth of the owner change. That is a subject and nothing to say, but one part is a condo and a small part is the hotel on the guest room. If the figure is not perfect. Before it was 1,500 keys approximately. Now we will leave 257. I think keys something like that. So a big change. So that means on the room configuration I'm doing completely a new product. I hope this product. Every American will be happy to live there to see that. So that means a minimum of size of the room is again 600 square feet with a beautiful bathroom, which is not the case in New York where you have a separate shower separated WC double vanity shower, bathtub walking dressing, new way of working as you have today. Not cupboards. And I hope when he will be there. It's more like for example the room like a studio residential, not just one More hospitality room in New York, I hope.

[Interviewer]

When is the opening date so far? When do you think it will be?

[Pierre Yves Rochon]

I hope because it's not me. I'm not in charge of all of this after spring or summer. I hope so just to finish without to. Because I can speak for sure.

[Dan Rubenstein]

Sure.

[Pierre Yves Rochon]

I have so many things to do. Public space. I respect completely. By the way, listed first, number two. We do a new entrance. Your new journey for the. For the guests. I hope the American will like us. It will be more luxurious, I think. And they're going to rediscover a beautiful property. I promise you a beautiful property. After that sometimes the detail. Because I always say you can write the best partition of music. If you're not a good conductor, a good musician, your music can be some problem. But I was there with Lisa one or two months ago. The public space, incredible. And with respect, I hope the American said this French doesn't destroy the world of. But it bring back the life, I hope at the Waldorf.

[Interviewer]

And how would you describe that Waldorf Astoria spirit or that life compared to other hotels, you know, in New York? Or is it grandeur?

[Pierre Yves Rochon]

Is it sort of the grandeur especially on the public space. I rediscover myself last visit the grandeur. This is why when you ask me some question, I want to stay a little bit on the public spaces. Because it's a new journey and no, I think no any hotel in New York I'm going to have this grandeur. It's not me, it was before me with just respect and change some destination. But it's the 30s American sources. And I respect a lot all of this and I hope this hotel will be number one on the competition. And we respect the DNA and the jewelry of the Waldorf.

[Interviewer]

And you know, we're only by the. We're recording this in the middle of March, right before the Salone in April in Milan, where you're creating a special exhibition at the legendary furniture fair at the Salone del Mobile called the Luxury Way. Can you tell us what this. I guess pavilion might be the right way to describe it.

[Pierre Yves Rochon]

The first, of course is always an honor for you when they invite you as a guest on the salon to do some things. What means. What I'm going to do is not just pyr design. It's not. I'm doing a job after that the way I'm doing the job. We will see if it's right or not. Message today when you're going to the fair to the salon. It's an extraordinary salonix many ideas, many creation. But I'm going to the fair for more than 40 years. Forty years ago, I think half and half of the salonnais pavilions was classic and half pavilion was contemporary with new design. Today you have two pavilions classic and the rest contemporary design. So my job is just to say, hey, don't forget that exists is a part of your life. You have behind that a lot of we say in French, savoir faire. The way to do it extraordinary. So my dream was, okay, I'm going. They give me. They said can you do something around 4,000 square feet? Something. They don't tell me nothing. So I was thinking, I said okay, I'm going to do a villa, a beautiful villa, an Italian villa. I'm not doing competition on the architecture, but I'm doing the. It's just a beautiful square terracotta. Because we are in Italy, this part of Italy. And that looks Tuscany still. And on this fair everything is crazy. Everywhere is noisy. I want just a brief. So in the middle of the pavilion we have a brief first with carpets. So when you walk, you don't walk anymore on the concrete, but on the carpets. So that relax you. And around this square villa, around the world you have a garden, I hope with the birds, the sound of the birds. So it's the beginning of some things. And before to cross the garden to go inside, I said the name is a villa because it's Italian and heritage. So it's not a villa of classic, it's heritage. And again, strangely, maybe it's coming like your first question. When I'm going to the lobby of this villa. Music light, mise en scene again. And we are mix flavor smelling. So you are going to live an experience of the design with the heritage. Every room, the size of the room is. I don't know, in feet is 5 meter, quite large, quite like 12ft? No. Or something like that? No.

[Interviewer]

Maybe 5 meter would be like 15ft or something.

[Pierre Yves Rochon]

15, yes. So you see quite large. And each room has own story and color. Mostly you have five or six room. When you're coming first on the lobby, terracotta, you're going to have a big marble statue, 2 meter 50 height. Extraordinary. And after that you go into the salon. Red, completely red. And about the opera. And immediately you are going to listen Maria Callas singing Norma in a Scala in Milano. You will see the dress red. She command d' Porte. She wear am right for this performance.

[Interviewer]

The dress that she wore for the performance.

[Pierre Yves Rochon]

Yes. Next to the fireplace, Hundred rose on the Coffee table. The picture of Visconti with Marie Callas. When she direct her on this performance. It's the beginning.

[Interviewer]

So it's like a little journey into your mind, essentially.

[Pierre Yves Rochon]

Yes. And I hope when you will be there, you feel this journey. So you have the music, you have the thing. And every room has different story and color. Again, professionally, when you are going to see that two possibilities. The first thing is amazing. I can live from the red to the purple to the green to the white. We will see.

[Interviewer]

And with so much experience in your career, as we say under the belt here in the US what are you looking forward to now in your career? What is left to accomplish?

[Pierre Yves Rochon]

The first, I love what I'm doing and I want always more. I don't want to stop. So I'm addressing by everything. It's really the fool. I'm not a star. No, no. I wake up with the design, I'm sleeping with the design. I'm waiting with the designer's creativity. So to do this challenging for three months in Milano is funny, is interesting to do. But believe me, we try to do the best as we can. But of course, we never know if one day we do an opera or we do something, we are ready.

[Interviewer]

You're still ready for something, a new challenge?

[Pierre Yves Rochon]

Yes, of course. And the challenge is the best. That is interesting. Always challenging. Of course I'm ready for that.

[Interviewer]

And if there was one thing, one aspect of a hotel that you would like to personally improve on, not from a particular project in general, like is there a particular part of hotels today in this post pandemic moment? You think we can do better, we can make these.

[Pierre Yves Rochon]

Yes, I have the answer. But I don't know if I should tell you, because it's a secret. But Nomad, it's really true. Okay, maybe I should tell you. Is the way to live on my room is the way to live on the hotel. If you think little bit about this, it's true. Because when you're going to the luxury and you paid a lot of money, are you getting the services the luxury you expect today or not? Think about this. This is what I want to develop. Because I think we need to the innovation of the future is the way you take care about your guess. Not like a fashion, not fake. Really. Example Breakfast, just breakfast. I don't want to develop. But think about this. When we finish speaking together. When I'm going to the best hotel, I pay so much money. What is the way they treat me? Do I remember? It was extraordinary. Is it the luxury or is it just fashion?

[Dan Rubenstein]

Thank you to my guest, Pierre Yves Rochon, and to everyone at his firm for making this episode happen. The editor of the Grand Tourist is Stan Hall. To keep this going, don't forget to visit our website and sign up for our newsletter, the Grand Tourist Curator at the Grand Tourist. And follow me on Instagram danrubenstein and you can purchase the first ever print issue of the Grand Tourist online now on our website. And don't forget to follow the Grand Tourists on Apple Podcasts, Spotify, or wherever.

[Interviewer]

You like to listen.

[Dan Rubenstein]

And leave us a rating or comment. Every little bit helps. Till next time.