FROM THE ARCHIVE: A GRAND TOUR OF PIERRE YOVANOVITCH’S SPECTACULAR CHATEAU

In 2009, ELLE DECOR A-lister Pierre Yovanovitch unexpectedly found himself drawn to the idea of owning a château, a notion that had never crossed his mind before. Initially uninterested in having a country house, he stumbled upon a real estate listing for a 17th-century château in Provence while flipping through a magazine. Despite his initial reservations about the complexity of such a venture, Yovanovitch, a Paris-based interior designer, was piqued by curiosity and decided to explore the property.

a seating area in a bedroom with a fireplace and curved sofa and red chair and large owl painting along the back wall

The moment Pierre Yovanovitch laid eyes on the 17th-century château in Provence, it was love at first sight. After a scenic two-mile drive through dense forest, the château revealed itself around a bend, capturing Yovanovitch’s heart instantly. Convinced that the house was destined for him, he made the decision to purchase it. A few months later, as he signed the purchase agreement in Paris, he received an 18th-century key—a colossal one. Amusingly, when attempting to take the key on a flight the next day, airport security mistook it for a tool, prompting a lighthearted encounter.

a dining room with blue table and chairs a chandelier overhead and a modern colorful portrait on the wall behind

Pierre Yovanovitch, a self-taught designer with a background in fashion, quickly ascended to the pinnacle of the French decorating scene in just over a decade. After working for Pierre Cardin, he founded his firm in 2000, gaining recognition for his interiors characterized by clean lines, luxurious textures, and a penchant for top-notch 20th-century American and Scandinavian design.

His personal country estate, situated near Aups village in the southern Alps foothills, serves as a testament to his refined aesthetic. Dating back to the early 17th century, the property was formerly owned by the Fabrègues family, Provençal artisans ennobled in the 1400s. Over time, the estate saw the addition of a formal garden in the 18th century and the transformation of parts of its nearly 1,000-acre expanse into farmland. In the 19th century, the château’s towers were adorned with colored tiles depicting the changing seasons.

paneled office with a wood desk table and chair

Pierre Yovanovitch found himself captivated by the minimalist essence of 17th-century architecture when he discovered the château. Delving into its historical charm, he noted the restrained ornamentation on the walls, with homeowners of that era directing their resources towards elaborate ceilings and fireplaces. The allure extended to the property’s strategic location, offering a blend of proximity to Saint-Tropez and Marseille, coupled with a secluded ambiance. The absence of neighboring structures adds to the allure, allowing Yovanovitch to revel in the expansive space, serene silence, and the enchanting fragrances of the surrounding forest.

a bedroom with white walls and a few ceilng beams and a fireplace and simple platform bed

Initially intending a modest renovation, Pierre Yovanovitch’s plans took a turn when he discovered the château’s need for extensive roof repairs. Upon closer examination, he uncovered a structural quirk—a lack of foundations, except under one tower, causing the facade to lean forward due to its direct placement on clay. To address this, foot-thick metal beams were discreetly incorporated behind the walls. The decision to reinforce led to a comprehensive restoration, spanning three years. Most ceilings were replaced, excluding a 19th-century one in the dining room, and the grand staircase, now termed “a big, modern cube,” was retained. Yovanovitch’s fond memory involves witnessing craftsmen joyfully singing as they replaced the vibrant roof tiles.

a large spare bathroom with tub at center and a cozy fireplace

Pierre Yovanovitch aimed to blend contemporary aesthetics with historical nods in the château’s style. Traditional gypsum fireplaces adorned with bird and duck sculptures were installed, offering a classic touch. The furnishings predominantly consist of rare 20th-century pieces. Notable examples include a 1931 sofa designed by Axel Einar Hjorth—one of only five in that style—and a dining set commissioned in 1923 by Copenhagen architect Christen Emanuel Kjaer Monberg. The blue-painted table, equipped with extensions, accommodates Yovanovitch’s vision of a modern château dining room—featuring a cold yet powerful ambiance with strong, simple lines.

exterior of chateau with a large pool and grounds and stone walls

Following the completion of the interior, Pierre Yovanovitch has embarked on the restoration of the château’s gardens, enlisting the expertise of renowned French landscape architect Louis Benech. The gardens now feature a new pool, and extensive repairs have been carried out on miles of dry-stone walls. Despite acknowledging the vastness of the property and the ongoing financial and energy investments, Yovanovitch expresses his love for the château. He humorously acknowledges that the purchase was “une vraie folie”—a true madness—and admits that the property, four times larger than needed, will provide him with decades of work.