Coronation achievement

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the 120th studio of the century.

"We didn't want to create a fancy interior," says Paris-based designer Michael Kurengel. "For us, the decoration should look almost natural." So when he and his partner Jean-Pierre Calvagrac decided to revitalize an 18th-century estate in the Bordeaux region, it made sense for them to recreate Louis XVI-style décor.

The room has a pair of 18th-century obelisks and a 19th-century Louis XVI-style chandelier; the ceiling was hand-painted and the marble floor was laid in the traditional 18th-century style.

The Louis XVI-style decor has been adapted to the period, but at a glance the palette seems strikingly, almost shockingly modern. The walls are bright green, sunny yellow, bright blue and dark turquoise. However, Kurengel emphasizes that these were the hues used at Versailles. After all, colors fade after 300 years. "Back then, Versailles was psychedelic, multicolored, like being in space," he says. "It was the standard for design. Imagine if the palace had been designed by Zaha Hadid. There would have been the same effect."

In the library of a French chateau

designed by Michael Kurengel and Jean-Pierre Calvagrac, features a Directoire-era sofa with its original velvet, a 19th-century table and chandelier, and an 18th-century armchair with original embroidered upholstery; the panels are painted in Canopee by Zuber.

An estate known as a château in southwestern France

is the primary residence of the owners of Château Fourcas-Hosten winery in the village of Listrac. Fourcas is the name of the plain across which its 116 acres of vineyards stretch. Jean-Baptiste Osten, a lawyer in Bordeaux, was the first to plant these vineyards in the 18th century. In 2006, the site was purchased by brothers Laurent and Renaud Mommage, who belong to the Hermes dynasty. Both are members of the board of directors of the French luxury house, and Laurent previously served as director of Hermes' domestic division.

In Georg Jacob's salon, the sofa and armchairs are upholstered in velvet from Lelievre, the chest of drawers, barometer and Aubusson rug are all 18th century, and the chandelier and sconces are 19th century.

What attracted the brothers to the estate was the surroundings, from the lush landscape of Bordeaux's famous vineyards to the charming Romanesque church nearby, which dates back to the 12th century. "We liked the simplicity and elegance of the property and the fact that it was in the heart of the village," Laurent explains.

At first, Kurengel and Kalvagrek, who create one of the most talented and well-connected decorating firms in France, were hired just to choose paint colors, replace curtains, and add a few pieces of furniture. In the end, they completely restored the building over three and a half years. "As soon as we started touching the walls, we realized that everything was rotten and falling apart," explains Kurengel. The house also didn't look very good. There were no wall decorations, and the wooden floor was very plain. "It resembled an old boarding school," jokes Kalvagrek.

A portrait of Marie-Joseph of Saxony, daughter-in-law of Louis XV, in the Polonaise room; a Louis XVI cast sofa upholstered in velvet based on 18th-century fabric, an 18th-century chandelier, and walls painted in gray by the French company Farrow & Ball.

The plan for this "U"-shaped structure was completely illogical for adding a call. The former kitchen and dining room were adjacent but not connected. There were only two bathrooms, and the back of the house was a maze of small, windowless spaces. When they started tearing down walls and partitions, the designers discovered several rooms upstairs that had been sealed off and forgotten for decades.

In the dining room, there is a sofa by Georges Jacob and a table, chairs with medallions, and a couch - all from the 18th century.

Kurengel and Kalvagrek tried to restore the original layout of the 18th century as much as possible. They created an elegant enfilade of rooms on both sides of the foyer with a checkered floor. They moved the kitchen to the backyard, where it was originally located, and they slightly altered the architecture of the bedrooms to install their own bathrooms. There was little that could be preserved - only a few fireplaces and mirrors.

In the kitchen, there is an 18th-century dining table and a console table, as well as a 19th-century display cabinet, all made of oak. A 19th-century Dutch chandelier hangs above.

Now, almost every architectural element is new, except for those salvaged from historic Parisian townhouses and French châteaux: the parquet of Versailles, the Louis XIV fireplace in the library, and the 18th-century columns on the terrace. Other vintage finds include painted panels on the dining room walls, populated by playful monkeys, and the dining group chairs by Maison Jansen, which once belonged to Miss Daisy Fellowes, a notable figure of the 20th century. As a sign of connection with the Mommez family, Kurengel and Calvagak reupholstered the chairs in the same leather used for the iconic Kelly bag. They also framed three Hermès scarves featuring designs by Josef Albers and hung them as works of art.

Original Style tiles and a 19th-century painted wrought iron sink in the hammam.

Many other rooms have nicknames. The bedroom with the "lit à la polonaise" and family portraits of Marie Leszczyńska's relatives, the Polish wife of Louis XV, has become known as the Polonaise Room. The cozy salon, used for breakfast or tea, was named "Miss Marple" in honor of Agatha Christie. "No one understood the name," Kurengel admits.

In the guest room, there is a lit à la polonaise upholstered in custom bedding and a ceiling with hand-embroidered linen from Chelsea Textiles, while the chandelier and table are from the 18th century, and the marble bust is of Marie Antoinette.

However, it turned out to be a portent. During the excavation of the courtyard, a terrible discovery was made. "The workers called and said they needed to stop work because they found the skeleton of a young woman," says Kurengel. She had been lying in front of the 'Miss Marple' windows for decades.

In another guest room, there is a painted chest, a daybed, and chairs in the Directoire style.