One of France’s most celebrated interior designers, Jacques Garcia is known for his opulent, historically rich, and emotionally evocative spaces. With a career spanning several decades, Garcia has redefined luxury interiors, seamlessly blending classic grandeur with contemporary sophistication. His designs, whether in private residences, grand hotels, or historic landmarks, evoke a timeless elegance that pays homage to the past while remaining unmistakably modern.
Garcia gained widespread recognition in the 1980s with his work on the Hôtel Costes in Paris, a project that would come to define his signature style—sumptuous, moody, and layered with history. The hotel became an iconic destination, known for its deep red velvet drapes, gilded accents, and sensuous atmosphere. From there, he expanded his portfolio to include some of the most prestigious hotels in the world, such as La Mamounia in Marrakech, Hôtel Métropole in Monte Carlo, and NoMad Hotels in New York and Los Angeles. His interiors, often infused with a baroque sensibility, are richly textured and imbued with an air of mystery and romance.
Beyond hospitality, Garcia has also left his mark on historic preservation. Perhaps his most personal project is the restoration of Château du Champ-de-Bataille, his own 17th-century estate in Normandy. Over the years, he has meticulously revived the château and its extensive gardens, filling it with museum-quality antiques and art, demonstrating his deep commitment to French heritage. For the quality of work and his long list of achievements, he was named commander of the Order of Arts and Letters, and a Chevalier in the order of the Légion d'honneur.
In recent years, Garcia has continued to expand his influence, taking on projects that bridge past and present. His work on the Ritz Paris’ grand renovation brought renewed splendor to one of the world's most storied hotels. His latest venture has been the design of the JMM Galleries in London and Paris. For the former, Jacques took a historically-informed, modern approach to the traditional aesthetic of the old-world gentleman’s club. Said Garcia, “With an almost futuristic or innovative approach, we go back in time in order to begin a narration at the beginning of the 19th century and invite the discerning collector to join us on our travels.”
J.M.M.:How would you describe your vision for the JMM space in London? In Paris? How do these visions resemble or differ or build upon each other?
JG:The primary inspiration is above all the address. We need to know where we are to best draw inspiration from the soul of a place. All my career, I have rooted public places in their locality. When I created L'Esplanade des Invalides and added cannons, it was not because I am a military enthusiast, I was simply creating a response to the neighboring architectural masterpiece. And I can repeat that to you for 1,000 places.
J.M.M.:How does your approach differ when designing for a retail space versus a private residence? How does this project, which is one of your rare boutiques, fit into your creative approach?
JG:These are two radically opposed approaches. In a private residence, you have to capture the spirit of your client and how to bring them to their best without falsifying their taste or risk defacing them. No more, no less. There is nothing worse than putting a Renoir in the living room of a client who doesn't know what Impressionism is; he would look like an imbecile, and I can't stand for that.
A public place, whether it is a restaurant, a hotel, or a shop, is very different because it is partly about my perception. My guideline is always the same: to give the feeling that each address is unique so that each person, once through the door, has the impression that they will not find this place anywhere else. After the discovery, whether they like it or not, the main thing is that the memory brings something profound to their world.
J.M.M.:What do you consider the most notable details within the London gallery?
JG:For the London gallery, two medallions were created by a talented artist, they represent Lady Hamilton and Horatio Nelson, lovers with extraordinary destinies who inspired the arts and who inspired us to create this very special atmosphere. These two medallions are an original creation and a central element of this decor. What is remarkable is the timeless dimension that we have invented. Once in the gallery, we are at the crossroads of design and history, as if this was the continuity of a centuries-old place.