Comment Faire Du Pâté De Sanglier
This is an expanded version of the characteristic that appeared in Architectural Digest's September 2018 issue.
PHILIPPE VENET: New houses were crowding the little pavillon that architect Pierre Barbe had built for us not far from Versailles, so in the mid-1970s we began looking for another small identify near Paris. Our gymnastics instructor told us that a friend of a friend had a house called Le Jonchet—Manoir du Jonchet, non Château du Jonchet—two hours away. Information technology was a chip too grand, but it had two rooms we could apply as ateliers for Hubert [who died in March at 91] and me. Some of the rooms had painted-wood floors, very tedious, with a 2-tone diamond design like in Scandinavia—you lot accept many of those in America, not? We replaced them with pierre de Bourgogne.
OLIVIER DE GIVENCHY: The blocks of limestone were laid out on the lawn, arranged into the shapes of the rooms, and waxed by hand before being installed and waxed again. Uncle Hubert and Philippe, my godfather—they were together for 65 years—redid everything, even the moat.
VENET: We made information technology trés soigné. During the renovations we made a small bedchamber, all white, with 2 beds, and we lived like that for a year. Nosotros restored the original proportions of the doorways, and I cut downward trees well-nigh the house to create a perspective.
OLIVIER DE GIVENCHY: At the Paris house, all they had to do was decorate.
SUSAN GUTFREUND: Theirs was an easy yet elegant way of life: silk and velvet in Paris; white slipcovers and printed cottons—some were Hubert'south designs [for Fabriyaz]—at Le Jonchet. Hubert should accept done a capsule drove of furniture—he's known as much for decors as he is for dresses.
JEFFREY BILHUBER: I have some freehand sketches of his of every dissimilar thing we could design together in blue-and-white papier maché and bamboo, after he found a basket made of those materials at John Rosselli and which was painted to look similar Chinese porcelain. The sketches are of laundry hampers, photophores, and serving trays.
OLIMPIA TORLONIA WEILLER: The houses were cozy, inevitably cozy. Certainly, Hubert and Philippe knew how to make rooms that were comfortable yet remained beautiful.
OLIVIER DE GIVENCHY: A couple of Labrador retrievers were always effectually and allowed on every sofa at Le Jonchet, but everything remained immaculate. I had no idea how that was accomplished, because there wasn't much staff.
VENET: We had a Shetland pony, likewise. Hubert said he must not be alone, so we gave him a female. 30 years subsequently, there were 27! Hubert wouldn't separate them.
THIERRY DESPONT: To spend a calendar week with Philippe and Hubert—the most fantastic couple—was heaven. I retrieve taking a long walk through a big field with tens of thousands of daffodils. Nothing was minor with Hubert.
OLIVIER DE GIVENCHY: Le Jonchet was, I call back, my uncle's favorite business firm but information technology is sort of impractical for a weekend, to Philippe'due south chagrin. He has always preferred to spend weekends in Paris, especially during the wintertime.
VENET: The nearest town to Le Jonchet is Romilly, a very, very small village with a church and three or 4 houses. We used to go every weekend, but so we got a house in St.-Jean-Cap-Ferrat and an apartment in Venice, and so then we would vacation at Le Jonchet in May and Christmas. In the last few years we would spend two months in that location.
MERCEDES BASS: [Hubert] had a wonderful sense of scale that I call the Givenchy eye. A brilliant mural architect—the about amazing I've met in my life—decorator, and designer, he also would have been a marvelous antiques dealer. Hubert's taste was as handsome as he was himself and then harmonious. Everything I know I learned from Hubert: He taught me about scale, harmony, how to decorate and then that no one thing hits your heart, it but all goes together. When you visited Hubert and Philippe, your middle just traveled through the rooms, and you would think, "That's fabulous" and "That's beautiful" and "How did he detect that?"
DESPONT: Talking with Hubert was like going back to school. I was forever trying to climb on his shoulders when it came to my piece of work. He could take a very simple bench and upholster it and make it so elegant. Hubert was amazingly knowledgeable—he knew about every château, every identify where you thought of traveling. His memory was extraordinary: "Thierry, you don't know about that room in that palace? You have to encounter information technology." It was the aforementioned in furniture. Plainly, he learned about things like every intelligent person does but he had an innate talent, so discreet.
DEEDA BLAIR: The dining room at Le Jonchet was delicious, with beautiful antique Chinese wallpaper. Hubert had Barovier & Toso copy goblets that Arturo Lopez-Willshaw had owned but had them etched with stags. [St. Hubert is the patron saint of hunters.] He also wasn't averse to uplights, which fabricated that corking, great room magical at night.
VENET: The wallpaper was also short, then we added the lower section, which looks like a river. Charles Sevigny designed the table with a base of operations that recalls Chinese moon gates. Nosotros ate very simply, often suprême à la tomate, with a curry sauce, and always cheese—Hubert loved cheese.
JAMES DE GIVENCHY: If Philippe and Uncle Hubert took a 12-mean solar day voyage on their yacht, for instance, 12 Camemberts would come with them, each one timed to exist served on a detail twenty-four hours then it was perfectly ripe.
OLIVIER DE GIVENCHY: The yacht was a caïque, all white and mahogany, that had been built in Hellenic republic for Alain de Rothschild. Information technology was sold to a German guy, I think. James and I would like to find it.
VENET: Information technology was very slow. Once we sailed from Greece to Saint-Tropez and information technology took ten hours. So forget the boat.
BLAIR: Dinners [at Le Jonchet] were never big, at most 6 or eight people.
BASS: They had a fantastic cook, but Philippe is a tremendous chef, too.
JAMES DE GIVENCHY: For a long time the melt was a wonderful woman named Simone. She was more than a cook, she was like a mother. If you needed to talk to almost a problem, she was the ane you lot went to.
OLIVIER DE GIVENCHY: She was the kind of cook yous always went to hug. Le Jonchet is full of memories for me, especially Christmas ones—the smell of the candles, the smell of the meals, the style the staircase creaked every bit you went to bed on Christmas Eve. Information technology has ever been a very special place. I think Uncle Hubert picked up ideas from traveling and from friends' homes. Le Jonchet is a French house with a global vision. He put so much of himself into it. He and Philippe loved Greece and Italia, so Uncle Hubert fabricated the chapel feel a scrap Mediterranean, something that a traditional French chapel would never have felt similar but it does take a statue of St. Hubert and a deer.
Pablo Zamora
A sundial rises from a walled garden.
VENET: He dreamed of having a garden, but the ane at the forepart of Le Jonchet was a jardin à la française, with lots of flowers, but horrible. And then we removed it and asked the Cini Foundation in Venice if we could copy their parterre [equanimous of concentric boxwood circles on grass]. Bunny Mellon suggested planting the huge shadow cast by one tree with crocuses. It was very funny to have a shadow be all white.
BLAIR: Gardens were a mutual passion, so when Hubert visited Bunny at Oak Spring, as he did oft, she would take him to come across great houses in Virginia. Mount Vernon'southward kitchen garden was the inspiration for the i at Le Jonchet.
VENET: Our potager in the centre of the woods was so huge that it required two or three gardeners, but we could only devote 1. Twenty years later, we tore it out and put down grass. It's mowed in one case a week.
OLIVIER DE GIVENCHY: I dream of restoring the kitchen garden. It was magnificent.
BLAIR: The stream was edged with wattle fencing, simply who came up with that, I don't know. Hubert did have an English life, with two or three clients at that place. One was an elderly Lady something, who collected Boulle piece of furniture, which he adored. He was close to Debo Devonshire and others, so he could have seen wattle fences in England. Of course, Bunny looked at gardens everywhere, and I call back they probably discussed it. At that place's a story that that she wanted him to cut down a large part of the wood at Le Jonchet, and he said no. Well, they argued. Then she called him the next day and said, "I didn't slumber final night. I worried and worried, and yous're right—the woods should non exist cutting down."
VENET: We placed the puddle abroad from the firm, so y'all could non see information technology. I swam, Hubert did not. He would become in, move his artillery around, then get out.
BLAIR: He preferred long walks in the woods.
BILHUBER: Hubert institute the virtually utilitarian objects alluring, the verbal opposite of grandeur; he was all almost simplicity and purity. I remember i Manhattan shopping trip, a day's risk, spent looking for the perfect toilet brush. It was every bit satisfying to him as going to whatsoever of Paris's thou purveyors. Another day nosotros went looking for the very best fireplace brooms and another looking for scrubbing brushes. Then he would pack them in duffel bags and bear them habitation on the Concorde. He told me, "What Americans bring to design is the sportif—French design is refinement but American design is energetic, simple, and simple."
ARIEL DE RAVENEL: Excellence was very much his thing. Acme, top, top, top quality in every way.
BASS: Null escaped his eye. Hubert expected perfection but he was not incommunicable or mean. His pursuit of excellence made yous want to give him perfection. The most important things to him were Philippe, his dogs, his friends, and then his houses.
VENET: We never thought nearly decorating. We just bought things we liked, and a place would be found for them.
BLAIR: I went antiquing with them in Venice one time, and they scoured for things. The apartment above their place in Paris was full of extra furniture because Hubert bought and bought. The bedrooms had patchwork quilts, totally Bunny influenced.
DESPONT: From the color of the notepaper to the flowers, everything had to be simply correct. There was no flashiness.
BLAIR: Effects were ever being moved and tried out in different places. Hubert was very tactile almost objects and things. And he was forever commissioning one more Giacometti this, one more than Giacometti that.
VENET: Hubert asked, "Why don't we accept some Giacometti?" We had just sold our chalet in Megève—I was a very good skier and served in a mount patrol during my armed forces service—so I said, "Why non?" When Christie's auctioned our Giacomettis [in 2017], nosotros had a ferronnier brand the states a copy of the octagonal table. At that place are many homemades at Le Jonchet: a "La Fresnaye," a "Picasso" that Hubert drew. Later on selling the big Joan Miró in his atelier to the Pompidou, I told him, "We must brand a Léger." So we did a collage together.
BASS: It'southward very hard to tell the deviation between their works and the real things, though they never copied; they made renditions. Most were wonderful collages: Hubert and Philippe would prepare the backgrounds, then cutting the paper and create a collage of a painting.
DESPONT: Philippe was always by his side, and afterward Hubert retired, they did shows and exhibitions together. He's just equally much of a perfectionist as Hubert.
VENET: We both worked for Schiaparelli—she was baroque—and ane twenty-four hours he told me, "I'm going to open my house. I'm leaving in a few weeks." I had to stay and stop my contract. When that was over, I went dorsum to Lyons, where I am from, and then returned to Paris and stayed with a friend in Porte d'Orléans. Hubert asked if I would come to see him in rue Fabert, where he had two or three rooms for his personnel and a small apartment for himself. He asked if I would work for him, organizing the company and taking intendance of the [tailoring] details, and I said, "Yes." We had dinner that night and never stopped beingness together for 65 years. That'south the story. It was a dream that yous could find someone in the aforementioned business, with the same gustation in how to alive, who appreciated the aforementioned objects. If you are sympathetic, you lot know in 20 minutes. Hubert was adept-looking, and I was not so bad. We had a honey saga.
DESPONT: They lived in their world, created their own universe, and their friends have been lucky to share it.
Comment Faire Du Pâté De Sanglier,
Source: https://www.architecturaldigest.com/story/hubert-de-givenchys-manoir-du-jonchet-is-as-breathtaking-as-his-designs
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