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Unlike the more flamboyant Leo Castelli, who became as much a celebrity as the artists he represented, Pierre Matisse, by contrast, reserved his opinions solely for the ears of his artists and collectors. “His absolute belief in art was the source of the great respect with which he treated his artists,” Pierre’s son, Paul, wrote. “It was also the heart of the esteem in which he, in turn, was held by his artists, his friends, and his clients. His life was entirely illuminated by art.”

I a world where everyone, in essence, through reinterpreting, reinventing or recontextualising archetypes — whether portraiture, fashion, furniture or interiors — is desperately trying to find “newness”, thereby earning a seat in the pantheon of art historical luminaries, we consider what it takes, as an artist or designer, to establish a visual language, that’s immediately recognisable and, as such, immune to the ravages of time.

We consider what one might term “design blindness”, whereby people view an interior as merely the sum of its parts, in the sense that a desire to place works by twentieth-century greats such as Jean Prouvé, Pierre Jeanneret and Charlotte Perriand et al. takes precedence over any attempt at meaningful interior architecture, thereby flattening of the design landscape, resulting in uninspired, hackneyed interiors.

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We spoke to Upper Eastside gallerist and interior designer Alyssa Kapito, who is, by her own admission, a devotee at the galuchat-clad altar of French decorative arts, about her work, inspirations, “Romantasy” fiction and whether or not she can pull off Lalanne finger caps.

Saman Amel have launched a flagship London atelier; and with an approach akin to Gertrude Stein, they intend to use the space as a platform for expressing their innate passion for art and design. Generations of young creatives “found” their place within Stein’s illustrious salons, a synergistic environment where, crucially, ideas were exchanged face to face, first-hand. Similarly, Saman Amel hope to foster an environment where customers can come together for thematic exhibitions and soirées, with the hope of promoting conversations beyond clothes.

With such a rich history of art and design, interweaving as it does, different eras and epochs, from Elsie de Wolfe and Jean-Michel Frank to the influence of exiled European avant-garde artists, and gallerists such as Peggy Guggenheim, it should come as little surprise that a new generation of New York decorators are taking inspiration from the past. As such, we spoke to Sebastian Zuchowicki about coquille d’œuf marquetry, the rise and rise of the celebrity interior stylist and, perhaps more pressingly, his abiding love for lampshades.

Upon entering the burnt-brick hues of the hotel’s Neo-Greek lobby, one quickly loses all sense of the outside world, entering a richly layered mise-en-scène, a throwback to a golden age of luxury. Beguiled by its inherent charm, I met the designer, François-Joseph Graf, for a tour, after which, we discussed his influences and inspirations, the decorators he most admires, and more pressing concerns, such as where to get the best steak tartare and frog legs in Paris.

“Hotel Château Voltaire is anything but a decoration,” explains Thierry Gillier, “It is a place of today to be experienced today by people of today.” With that in mind, we spoke to Charlotte de Tonnac and Hugo Sauzay of Festen architecture, not only about their design for this 32-room five-star Paris hotel, but also their likes, dislikes and, in the case of the former, a long-harboured desire to moonlight as a dancer.

We spoke to Andrea Bokobsa, co-founder of Pied-A-Terre Paris, about his passion for art and design (in part inspired by his mother, a former designer for Baby Dior and Bonpoint) and where he hopes to take the company in coming years