“The Lutetia hotel remains one of Paris’ architectural treasures; we are pleased to make it our home in France”.
Francis Ford Coppola
Lutetia, a hotel of The Set, re-opened its fabled doors on 12 July 2018, beginning a new chapter in the storied life of this iconic Parisian hotel. Located on the Left Bank, the hotel was originally opened in 1910 and closed five years ago for an ambitious period of restoration and refurbishment that has returned the property to its rightful place amongst the city’s Palace hotels and as the only Grand hotel on the Left Bank.
In the most recent chapter of the hotel’s rebirth, the owners, known for their sensitive and transformative restoration of historical properties were proud to unveil a spectacular collection of Signature suites. The final piece of the artistic puzzle that is the Lutetia is the opening of the ‘The St Germain Penthouse by Coppola’, designed in collaboration with legendary auteur and Parisian habitué Francis Ford Coppola. Coppola, who alongside his daughter Sofia was a regular at Lutetia has now joined the equally illustrious list of icons of the artistic world who have been closely associated with the hotel and who include James Joyce, Samuel Beckett, Yves Saint Laurent and Sonia Rykiel to name a few.
Designed by renowned architect Jean-Michel Wilmotte the suite honours both its magical Left Bank location and the cinematic art of the director, with hand chosen art works from Coppola’s personal collection as well as unique film memorabilia decorating the space. On entering the suite, guests will first encounter a generously sized living room extending onto a furnished terrace. An opulent bedroom next door with master bathroom in Carrera marble and walk in wardrobe completes this level. The architect’s distinct hand can be felt at work throughout with bespoke lighting and furniture throughout. No less impressive, the director’s choices are just as plentiful, offering a one-of-a-kind tour of this creative icon’s cultural and family life with scripts, stills and personal photos. A family portrait and sculptures from Coppola’s private collection reflect the personal man while film stills, cameras and the original pages from his copy of Mario Puzo’s novel The Godfather, annotated in preparation of the film illustrate his career and legendary works. Further details of other specific items with explanatory notes by Coppola himself can be found overleaf.
At the very center of this Parisian penthouse a winding stair leads to a lavish rooftop retreat –a terrace of over 60sqm with 360-degree cinematic views of the city. As suited to a glamourous reception or party as it is a luxurious breakfast or romantic meal, the terrace completes this unique suite.
ABOUT THE SET COLLECTION
At the most outstanding addresses, in the world’s most vibrant cities, The Set is creating the modern grand hotels of our time. In each one, we beautifully compose experiences that capture the hearts and minds of our guests, and the spirit and pace of their contemporary lifestyles. Currently consisting of the Hotel Café Royal in London, the Conservatorium in Amsterdam and Lutetia in Paris they are inspired by the artistic and imaginative heritage of their buildings and their iconic cultural and vibrant locations.
Notes on specific objects situated in the suite by Francis Ford Coppola:
The Fortuny Lamp
I visited the Mariano Fortuny studio in Venice recently, due to my admiration for this design genius and painter. Fortuny’s Father and Grandfather were painters, and he grew up in household of beauty, art and design. He was a painter, but also a man of the the theatre, whose interest in fabric, set design and art pieces is legendary. His designs for electric lights blazed new territory, often combining his sense of fabric in never been seen before chandeliers and lamps.
The Eclair Camera
As a young filmmaker I was most interested in technology, and specifically the cameras from around the world which offered the most ‘freedom’. In particular, the French Eclair company had produced an unusual design, called the Cameflex. This was a light and compact design, which being modular, offered the possibility that the same camera could shoot the different film formats: 35mm, 16 mm and Techniscope. Also it was configured in such a way that it was easily held by hand, resting on one’s shoulder. This gave the camera tremendous advantage, as exemplified by the work of Claude LaLouch who was the most adept at holding the camera in his hands and achieving fluid and continuous movement, such as demonstrated in the memorable ‘A Man and a Woman’. Inspired by such work, I bought an Éclair Cameflex camera, and made several of my films using it. Now that the Cinema has made the leap into digital electronics, I present my camera here as a memory of a time when cinema was a photo-chemical and mechanical process rather than a digital electronic one.
A Painting by Dean Tavoularis
Throughout my film career, I enjoyed the collaboration of the great production designer and artist, Dean Tavloularis. Beginning with my production of The Godfather, and throughout the great majority of my work, Dean was always by my side responsible for the ‘look’ and details of the design of settings, and all details. This great collaborator also worked on various properties that I acquired in the wine industry, the remodelling of Inglenook and the other wineries that bear my name in Sonoma, California.
Dean now lives in Paris with his wife Aurore Clement, and is painting. I am proud to own and display one of his paintings at the Hotel Lutetia.
Poster from the Cannes Film Festival
In 1996 I had the honor of being the Chairman of the Jury of the Cannes Film Festival. When it was concluded, many of my jury members signed the poster of that year, and I display it now in the suite.
The Prize of the Spanish ‘Princess of Asturias Awards’
I proudly display the award actually designed by the great artist Miro which was awarded me in Spain.