Art nouveau memories in the Hotel Majestic, a centennial venue in Saigon

Art Nouveau reintroduced nature into the cityscape, softening the hard edges of emerging modernism. Its iron balustrades, curved glass domes and ornate façade mouldings were more than decoration—they told of an age when art and everyday life moved in step, inseparable.

When Art Nouveau architecture began making its way into Vietnam from the late 19th to early 20th century, it brought with it sensuous lines, an artistic sensibility, and a wish to part ways with the rigid neoclassicism that had shaped much of Western design in the preceding century. In Saigon, the style left only a faint imprint, yet it lingers in a handful of notable structures. Among them, the Hotel Majestic Saigon quietly stands apart—a testament to the city’s nuanced adoption of Art Nouveau. In conversation with Mr Vo Van Nhanh, Director of Hotel Majestic Saigon, we were invited to rediscover the elegance embedded in the building’s bones—an aesthetic that has continued, almost silently, to delight generations of visitors.

Hotel Majestic Saigon is not merely a beautiful riverside hotel—it stands as a living testament to the delicate fusion of architectural artistry and urban life in the early 20th century. Built in 1925, the Majestic carries a classic elegance infused with Art Deco nuances, from its balanced forms to its time-worn stained glass, all of which contribute to its enduring presence as a symbol of graceful Saigon.

Situated at the meeting point of Dong Khoi and Bach Dang streets, the Majestic Saigon Hotel has quietly observed a century of the city’s evolution. Erected in 1925, it is more than a fine example of classical French architecture—it represents a refined lifestyle, where European standards mingled with the open, spirited character of the South.

As the city continues to transform, change is inevitable—but Majestic has chosen a path of quiet preservation. Restoration work has been approached with care, striking a balance between conservation and thoughtful renewal. Original features such as the wrought iron banisters, vibrantly coloured stained glass, and the soft curve of the river-facing windows remain untouched. “Restoring Majestic is a challenge,” shared Mr Vo Van Nhanh, Director of Hotel Majestic Saigon. “It demands precision and complete respect for the hotel’s original spirit. We have sought to maintain the soul of the building, while discreetly introducing modern comforts to meet the evolving expectations of today’s travellers.”

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With a bold Art Nouveau sensibility, the hotel was originally conceived in a romantic style and, after undergoing several contemporary updates, it has now been returned to its early aesthetic. Ornamental ironwork, floral ceiling borders, and delicate wall reliefs have quietly enhanced its classical charm across the decades.

The grand lobby is marked by soaring ceilings, tall columns and intricately worked mouldings. Traditional tiled floors sit beside marble inlays, while crystal chandeliers lend the space an air of understated ceremony. Though refreshed over time, much of the interior remains true to its original design language.

Within the rooms, dark timber accents, arched windows and French balconies looking out to the Saigon River appear less like amenities and more like storytelling devices. Each element—from brass handles to heavy ivory drapes and stained-glass insets—whispers of a hotel that has stood witness to the city’s many chapters.

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The hotel stands not only as a fine example of imported architecture, but also as a reflection of the social strata taking shape in Saigon during the early 20th century—businessmen, intellectuals and foreign residents among them. Over the years, it has hosted a number of prominent guests, both domestic and international, including the late French President François Mitterrand, Japanese Crown Prince Akishino Fumihito, and Danish Crown Prince Frederik André Henrik Christian. It also welcomed notable personalities such as Thai Princess Maha Chakri Sirindhorn, Singaporean Prime Minister Lee Hsien Loong, French actress Catherine Deneuve, and Japanese author Kaiko Takeshi—who made room 103 his home for two years.

“Japanese writer Takeshi Kaiko chose Majestic as his residence from 1964 to 1965, in room number 103. This decision further affirms the special cultural standing of Majestic—not merely as a luxury hotel, but as a space that nurtures creativity,” said Mr Vo Van Nhanh.

The rooftop café remains a romantic spot for rendezvous, offering sweeping views over Bach Dang Wharf and the Saigon River. While modern touches have been introduced, the original wrought iron balustrades and patterned floor tiles preserve the ambience of a heritage hotel—one that continues to observe the city’s ongoing transformation.

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