Family
A Friends’ Lunch at Clara Luciani’s Home
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At
Clara Luciani
Some interiors resonate like songs. Lived-in, warm, alive. That is the case with Clara Luciani’s home. As she brings the tour for Mon Sang to a close—an album written through the lens of motherhood (Clara Luciani is the mother of a two-year-old boy)—the singer opens the doors to the Haussmann-style apartment in Paris’s 9th arrondissement where she has recently settled. In this Belle Époque building, she has shaped an interior that reflects her image: instinctive yet considered, classical in appearance yet infused with colour, memories, friends and aesthetic melodies. Together with her friend and interior designer Pierre Savajol (PS Studio), Clara Luciani imagined a space that respects the existing architecture while opening it up to her own universe, blending period mouldings with vintage seventies finds and rooms designed for entertaining. The beating heart of the home is the music room, a true expression of this vitality. It is where she writes, plays the piano, reads, and watches films—another foundational passion in her world, from Jacques Demy to Sofia Coppola. A place steeped in two centuries of history, into which Clara Luciani has breathed life. Starting with our team, whom she invites to her table, alongside her friends, for a housewarming lunch.
Location
Paris
Author
Anne-Laure Griveau
Photos and videos
Gautier Billotte, Valerio Geraci
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sofa,
coffee tables, 1970s Italian armchair, and vintage lighting.
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Vintage Italian armchair
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PS Studio record cabinet
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With architect Pierre Savajol (PS Studio), on the
sofa.
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chairs, Axel Chay Coquillage wall lights
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TSF
How would you describe your home?
Clara
I think it’s a joyful jumble of everything I love. Things that might not necessarily go together on paper, but that speak to me aesthetically. There are lots of vintage and second-hand pieces, plenty of music, books scattered everywhere. And, above all, life.
TSF
The mix still feels very cohesive. Were there any periods you were particularly drawn to?
Clara
I’m quite a fan of the period from the 1950s through to the 1970s. But I can also own pieces from much earlier eras. Recently, while on tour in Toulon, I stopped by an antique dealer and bought some games from the 1920s. I really like this mix of very modern things and much older ones, as long as they carry a sense of heritage. Even in contemporary pieces, I like it when a story is being told.
TSF
Where does this strong attraction to the 1960s–1970s and to colour come from?
Clara
I think it all began with The Young Girls of Rochefort. I saw it very young, around the age of eight, and it was a visual shock. The film dates from 1967, and I believe it truly shaped the way I look at things—my taste for colour. Pink, blue, pale green… it all comes from there.
TSF
Your eye for decoration seems very well developed. How did it take shape?
Clara
I grew up in a very small fisherman’s house, just 60 m² for four people. I come from a modest background—my mother liked decorating, but it was mostly about upcycling and hunting for bargains. We were always going to flea markets and car boot sales, and I think that’s where my taste for discovery comes from. Later, I studied art history at school. That’s when I realised that the more you absorb visually, the more everything connects, and that the arts communicate with each other. My curiosity and creativity were really nourished by this, whether for writing or composing music. I’ve also always had an obsession with colours and how they interact, particularly in fashion and English interiors. The English are much bolder with colour than we are. My first trip there, at age eleven, was a true visual revelation. I fell in love with vintage, slightly wild pattern combinations, cosy interiors, and English gardens… and it really opened up a whole part of my creativity.
TSF
Green is very present in the apartment, especially in the living room. What was the intention behind it?
Clara
There was already green in this apartment. We reworked it—a pistachio version—to freshen it up and make it brighter. When I enter a space, I like to stay true to it. I thought: it’s been green for fifty years, so let’s keep it green. The idea wasn’t to impose too harshly on the energy of the place, but to modernise it so it could interact with my furniture and objects.
TSF
The painted woodwork almost gives it the feel of a house rather than a Parisian apartment.
Clara
Oui, complètement. J’aimais l’idée d’un cocon, quelque chose de chaleureux, presque comme une maison de campagne en ville. Le bois enveloppant, les tons chauds, le vert qu’on retrouve partout… Ça crée une unité. Même les sols ont été pensés dans ce sens, avec un parquet plus clair que dans les appartements haussmanniens traditionnels, pour donner plus d’air.
TSF
Speaking of air, could you tell us about the wind instruments found within these walls?
Clara
Yes, I hadn’t noticed at first. And then we realised there were musical instruments hidden in the mouldings, in the medallions. It felt completely destined. When I discovered this, I thought maybe this place had been waiting for me all along.
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chairs,
sofa, Axel Chay Coquillage wall lights
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My friends tell me, “This is you in an apartment.” There’s a very classic base, and then, suddenly, some quirks.
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Steen Ostergaard 291 Cado chair
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With Etienne Daho
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curtains
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Vintage 1970s chandelier, orange Artemide table lamp
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TSF
Music structures the entire apartment. Was it unthinkable not to have a dedicated room?
Clara
Yes, absolutely unthinkable. I do a lot of work from home, and you never know when a song will come. I think it’s important to have a space where you can welcome it. Of course, sometimes ideas arrive elsewhere, out on the street or while on tour. It’s a working room, but also a space for sharing. Even with my son, everything revolves around the record player in the living room. It’s a real ritual between us.
TSF
What role does it play in your family life?
Clara
This is how my son is discovering music—through records. That’s also how I discovered music myself. At first, I was really stressed about him touching the vinyl, because some are rare pressings I’ve had since I was eleven, others are Japanese… But then I thought, it’s all part of life. If they get damaged, they get damaged. I think it’s wonderful that he has this kind of learning experience.
TSF
Which artists do you listen to together?
Clara
A bit of everything. Françoise Hardy, the Beatles’ Yellow Submarine, even Julien Doré… very different things! He helps himself and explores. I love the idea of music flowing freely throughout the house.
TSF
Your eye also seems to be very inspired by cinema.
Clara
I didn’t study formally, but I was so curious that I built up a solid background in literature and music. Cinema, on the other hand, is an area where I have big gaps. Yet every time I’ve had an aesthetic shock, it’s been through film. Jacques Demy, in particular, but also Wes Anderson and Sofia Coppola. These are powerful visual epiphanies that have stayed with me and shape my tastes, both in decoration and in fashion.
TSF
Are there any specific cinematic elements that inspired you here?
Clara
Absolutely. The colour scheme in my office, with its soft, powdery tones, is heavily inspired by these filmmakers.
TSF
Your home mixes a lot of vintage finds with more contemporary pieces. Are there any that hold a special meaning for you?
Clara
I love the floral armchair in my living room; it’s an Italian piece from the 1970s with an unusual oval metal base. I buy a lot of things while on tour, often remotely, online or via WhatsApp in contact with Pierre, sometimes without even seeing the pieces—which can be quite stressful. I’m not at all attached to brands or signatures, more to character and presence. The important thing is that everything works together. Here, you have objects from the 1920s flirting with those from the 1960s. And it works! At least, I hope it does…
TSF
Which piece from The Socialite Family has become central here?
Clara
The
! I discovered it online while on tour. Pierre went to see it for me and showed me the different velvets… It was obvious. I’d been dreaming about it even before it arrived. It’s very comfortable, modular, and the combination of the soft fabric with the metal is exactly what I love.
TSF
Exactly—how did you work with Pierre Savajol on this apartment project?
Clara
It was fantastic. I knew what I didn’t want, and I had intuitions about colours and materials, but it’s not my profession. Pierre was my safeguard, but also someone who took me further. He made me fall in love with things I would never have dared to try, like a bathroom almost entirely in red! He translated what I had in mind while channeling my excesses. I’d send him pink lamps, and he’d reply, “Are you joking?”
TSF
Do you feel that this apartment reflects who you are?
Clara
Everyone who comes here tells me, “This is you in an apartment.” There’s a very classic, very restrained base, and then, suddenly, some quirks. I can be very calm, very gentle, and sometimes completely over the top. This apartment has exactly that. And I think it’s quite true to who I am.
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chair, white linen
curtains, pink
curtains The Socialite Family
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Vintage bookcase, found and restored
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Custom joinery
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Custom bistro pendant light, La Quincaillerie Moderne.
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Grenade paint by Reem.R
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Custom kitchen island
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