You met at work, right? When did you realize that you could build something together?
Dorothée Boissier: We first met at Liaigre, where I was already working when Patrick arrived for his interview with Christian Liaigre. Not long after, he was offered the position and assigned the desk next to mine. From the very beginning, I was struck by his talent. Though we seemed quite different at first, I had a strong feeling that we would go on to build something meaningful together, both professionally and personally. What has always made our collaboration so compelling is precisely those differences. Patrick is from the South of France, while I was born and raised in Paris. Yet very quickly, we discovered how naturally our perspectives complemented each other. That complementarity remains our greatest strength today. Each of us brings a distinct sensibility and set of influences to Gilles&Boissier. It’s this ongoing dialogue shaped as much by contrast as by harmony that gives our projects their depth and richness.
What was the first project you worked on as Gilles&Boissier?
Patrick Gilles: The first project we had the opportunity to work on after founding the agency was Buddakan in New York, a striking 1,500-square-metre space located in the heart of the Meatpacking District. For this first public project we collaborated with Liaigre, and this inaugural commission marked the beginning of our studio’s journey. From there, a series of significant projects followed: Hakkasan restaurants, and later, a pivotal encounter with Remo Ruffini, which led to our long-standing collaboration with Moncler; to date, we’ve designed more than 200 boutiques for the brand worldwide.
What project brought public interest to you for the first time? What do you think was the reason for your success?
Patrick Gilles: From the very beginning, we had the opportunity to work on high-profile international projects that brought significant public visibility to our studio. Yet one of the true milestones in our journey was our encounter with Remo Ruffini. He had acquired Moncler just a year before we founded Gilles&Boissier, and it was both a fascinating challenge and a privilege to help shape the brand’s physical and retail identity at such a defining moment in its evolution. Another milestone project for us was the Baccarat Hotel in New York, which attracted significant international interest. Our goal was to bring the excellence of the French brand Baccarat to the world of luxury hotels. Two years of in-depth research were required to understand the brand’s DNA and history, in order to create a space that truly reflects Baccarat’s elegance and expertise. Evidence of the project’s meticulous research can be seen in many of its details. This is evident right from the entrance, where homage is paid to the melting furnaces of the Baccarat factory, with a monumental, double-sided fireplace, whose transparency allows a glimpse of the perpetually moving hearth. This unquenchable flame symbolizes the unalterable energy of crystal.
You work in both residential and commercial settings. Private and public, then. What differences do you find between these two worlds? Is your approach always the same?
Patrick Gilles: The approach is similar, yet distinct in execution. Whether the project is private or public, we always begin by taking the time to understand our client how they live, how they perceive their brand, and what their aspirations are. This dialogue forms the foundation of our design process. When working with private clients, we immerse ourselves in their ways of occupying a space, personalities, and sources of inspiration. Our goal is to craft a home that not only reflects their way of life but enhances it, as an intimate, tailored environment that feels both deeply personal and meaningful. In contrast, when designing public spaces such as hotels or restaurants, our focus turns toward the identity of the brand: what it represents, what it evokes, and how it seeks to connect emotionally with its guests. There’s a theatrical dimension that shapes these projects; our role is to stage memorable experiences, whether it’s the serene familiarity we brought to the Four Seasons Formentor, or the grand, cosmopolitan elegance envisioned for The Lana, Dorchester Collection in Dubai, designed to resonate with international travellers.
Dorothée Boissier: Another key example is Maison Courvoisier, a project deeply rooted in heritage. We were tasked with restoring the identity of the world’s most awarded cognac house, drawing on its 19th-century legacy and its founder’s vision. Here, we took the brand’s ambitions a step further. We immersed ourselves in the archives of the Maison to truly understand its roots and historical depth. Through this meticulous research, we sought to embody the spirit of Félix Courvoisier within the Château imagining how he might have welcomed guests, how he would have lived and hosted, while integrating contemporary French elegance. The aim was to support the brand’s current vision and translate its ambitions through a subtle dialogue between heritage and modernity.
When taking on a new project, what is the starting point of your creative “ping-pong” (as stated on your website) process? And what is your ultimate goal?
Dorothée Boissier: Everything begins with the initial conversations, whether with private individuals, brands, or hotel groups. We take the time to immerse ourselves in their world, understanding who they are, what they need, and what inspires them. It’s about listening closely, observing intuitively, and absorbing the atmosphere around them. From there, Patrick and I take a step back. Rather than diving into immediate discussion, we each prefer to reflect independently, allowing our thoughts to unfold organically. We give ourselves space to wander to draw from our own thoughts and personal sources of inspiration. It’s only after this period of quiet exploration that we come together to exchange initial impressions. Often, what a project evokes in him is quite different from what it evokes in me. Patrick might describe a cinematic reference, a particular film or scene that comes to mind, while I tend to respond more instinctively to scenography, literature, or fashion. We each bring our own worlds to the table, and it’s in that meeting point that the creative dialogue comes alive. It’s this layered exchange, rooted in contrast and intuition, that gives our work its distinctive depth.
Patrick Gilles: Our work is deeply rooted in the legacy of French craftsmanship, but our process is never nostalgic. Rather than simply reviving historic elements, we push the reflection further reinterpreting tradition through our own codes and contemporary language. A classic moulding, for instance, might be reimagined in lava stone or travertine or interrupted by a sleek metal insert, an architectural sconce, or a sculptural doorway. Our aim is always to challenge convention and explore new ways of expressing French classicism, through a lens that is not only contemporary, but at times even futuristic. The Moncler boutiques embody this approach where we developed a visual language rooted in the interplay between classical heritage and contemporary codes, a language defined by contrast, tension, and balance. The spaces we created are intentionally graphic and immersive, designed to conjure a sense of theatricality that stirs emotion and leaves a lasting impression on visitors. Our collaboration with Moncler has become a creative dialogue that continues to this day. With over 200 boutiques worldwide, we remain closely involved in the brand’s expansion and evolving identity. It’s a long-term partnership built on trust, shared vision, and mutual growth, one that continues to inspire and challenge us.
In your opinion, is there a trait that unites all of your projects?
Dorothée Boissier: At the heart of our approach lies a deep reverence for French savoir faire. We engage in a dynamic dialogue between tradition and innovation, shaping environments that feel both timeless and culturally grounded. Each project is informed by architectural lineage anchored in classical references yet is reimagined through a contemporary lens. We are drawn to the idea of reappropriating symbols: honouring their origin while offering them a renewed presence, a second life infused with relevance. This same philosophy guides the creation of our furniture and accessories. We revisit traditional techniques, reinterpreting them to craft pieces that are practical, modern, and enduring. These designs are the result of thoughtful transmission, translating inherited skills into objects that speak to today’s way of living, all while elevating materials through meticulous craftsmanship and detail. Our ambition is to channel the French art de vivre into every project space that balances lightness and substance, elegance and utility, while resonating within a global context. Whether we are designing interiors or objects, our work seeks to carry heritage forward into the present, resulting in a lasting identity.
Is there an area you have not yet worked in that you would like to explore?
Dorothée Boissier: I’ve always been fascinated by scenography. There’s something magical about ephemeral design from sets, stages to performances that disappear once the curtain falls. Given my early passion for opera, it feels like a natural extension of what we already do: shaping atmosphere, choreographing movement, creating emotion and connection.
What are you working on now?
Patrick Gilles: We’re currently working on a series of exciting projects, from private residences to major hospitality landmarks. One of the most ambitious is the new Moncler flagship on Fifth Avenue, our largest to date. We’re also in the process of designing hotels around the world, including Mandarin Oriental in Rome, La Reserve hotel residences in Florence, The Park Hyatt in Casablanca, an Oetker Collection hotel in Saint Tropez, and a new Dorchester Collection hotel in Dubai. Each location offers a different pace and context, but they’re united by a commitment to excellence, detail, and emotion.
