Private tour. designer Aurelie Biedermann opens the doors to her cheerfully bohemian and colorful Parisian apartment

Aurelie Biederman is a 100% self-styled ambassador of left-wing style. She perfectly embodies this chic and relaxed Parisian woman who is the envy of the world. Her apartment reflects her appearance. Elegant without formatting. Housed in an 18th century building^e in the capital’s century, it is an example of eclecticism, with a mix of artworks, rare pieces, gallery-bought furniture and trinkets arranged in harmony. “I am a collector of small things,” Oreli explains. Founder of the jewelry brand that bears his name, but with which he no longer has anything to do, he can now devote himself to all his creative passions, including the world of home accessories.

“I grew up in a family of beauticians,” Oreli continues. We went to auction rooms, spent weekends at flea markets, antique shops, galleries. In addition, my mother loved and enjoys entertaining. I perpetuate this taste of beauty, but with my personality. And that’s definitely why I’ve been wanting to explore the areas of decoration and tableware for a long time.” It was in 2020, between two detentions, that he took his first steps in this new world in an event imagined with artistic director Franck Durand, to whom we owe the relaunch of the cult magazine. Holiday. He is responsible for the organization of the exhibition on the art of living. Then, at the request of her friend Arabelle Reilly, co-founder of Waww La Table, she envisioned tablecloths, tablecloths and napkins embroidered with shamrocks and ears of wheat.

A world of its own

These ears of wheat are also gorgeous in her living room, in vases or in the metal arms that hold the tops of the Goossens coffee table. “I like some little positive symbols because I’m an optimist who sees the glass half full,” emphasizes Oreli. So, my mother always puts a sprig of wheat in family photos, because it brings good luck. As for the clover, in addition to being a beautiful leaf, it is also associated with memory, which is again associated with my mother. When we were little, my sister and I, he asked us to go hunting for four-leaf clovers in the garden of our house in Normandy.’ If Oreli draws on her memory, it is far from nostalgia. Rather, he is talking about transmission. He thus skilfully appropriates his heritage, his education, to build his own world.

Her apartment reflects her ability to combine all kinds of references, from her treasures collected during her travels to her cushions with subtle patterns and colors, including her books, sofas that come from Galerie May, founded by Mailis and Charles Tassin. “These sofas follow me everywhere. I move regularly, but on the other hand, my furniture and accessories follow me.” Therefore, he recreated his “cocoon” in this luxurious space, which he occupied for four years and which he rebuilt upon his arrival. Very pleasant volumes, breathtaking ceiling heights and magnificent stretching windows behind the curtains… In this “house”, where everything is in its place, his office is an important room. Sentiments, family photos, books… she has created a hopeful environment where her imagination soars. Facing the green yard, he can look at his pictures.

A sensual and bold collection

It was there that he designed the Babylon collection for Christofle, launched in September; transverse line, the first since it was created with Andre Putman. Babylon? The name certainly evokes the hanging gardens and their splendor, as well as VII Street^e A neighborhood in Paris that so well captures the atmosphere Aurelie cherished. Babylone also tells the story of the meeting between Christofle CEO Emily Metge-Viarges and the designer; “We met in a professional context, but he became a friend. It’s important for me to have a good feeling, that’s how projects work. Emily gave me carte blanche, I had only one imperative: to combine Christophle’s heritage with modernity. And I must say that my pictures were respected and that it was a pleasure to work with all the teams.

This is how Aurelie thought of a pattern that could be infinitely unfolded on many objects; A very simple shape borrowed from the 1930s, almost cold, which he warmed up with braid decoration that brings color, sensuality. “For me, this decor is about braided bread, about generosity,” she explains. It also has the advantage that it can be modulated according to the proportions and shape of objects. On the cuff it appears in its complete and original version, stretching over the candlestick and only partially used on other accessories. “The collection has a strong DNA that makes it very recognizable while also being timeless,” he explains.

Attention to detail

Porcelain plates match silver metal centerpieces, bowls, tumbler and napkin rings. Oreli even played the card of combining these two materials for the vases. There is a form of audacity, but still accessible. “I wanted all the pieces to mix with each other, but also be able to match with other types of tableware.” So the plates find their place on a minimalist black and white table, but are also perfect for dining in the countryside or in a more baroque setting.

I am a trinket collector

Oreli Biederman

Aurélie’s dining room is the perfect playground for experimenting with these associations. He who likes to be surrounded by friends, sets the table with special attention. Except for the glasses, he doesn’t match anything. His touch: add unexpected details, multiply bouquets. Those who have had the opportunity to open the door to her apartment know that we will always be well received here and that we will enjoy the dishes Oreli prepares in her kitchen, which she wanted, obviously beautiful, but also functional. We also linger there to drink tea while admiring the cityscape, curled up on a small couch. You can also sit in the living room, a bubble of irresistible softness that sums up Aurelie’s personality; Yes, Aurélie looks great.