Bruno Moinard, designer of Hermès’s and Cartier’s headquarters, opened a new exhibition in Macau this month

Moinard’s influences span far beyond the gallery walls. Cinema, in particular, shapes his creative methodology. “I admire Stanley Kubrick. Each of his films is entirely different from the last. That inspires me—how can I bring that sense of newness to each project?”

And his projects are nothing short of prolific. He counts among his clients not only fashion houses such as Yves Saint Laurent and Alaïa but also design juggernauts Cartier and Kering, relationships cultivated since the earliest days of his firm. “I was lucky to meet Andrée Putman early in my career,” he says. “She opened doors to luxury and the clients I still work with today.”

Among those many commissions, a few stand out. “Designing the interior for the Concorde plane was one of my favourites,” he says. “It might not exist anymore, but it was a joy to do.” He also treasures his work for vineyards like Château Latour. “Boutiques might last ten or fifteen years,” he reflects, “but vineyards endure.”

If architecture is his métier, painting is his refuge. “Painting is just for me,” Moinard explains. “It’s the one thing where I don’t have to listen to anyone else.” For years, he painted in private, but a suggestion from an observant team member—who saw a sketch and imagined it as a carpet—changed everything. Now, his paintings inform not only interiors but furniture design, as he oscillates between media, turning weekends in Normandy into design laboratories. “It’s a new job,” he says and makes a face as a joke.

Despite his expansive success, Moinard remains profoundly attuned to the DNA of each brand he partners with. “Every client is different. Even the same brand can evolve dramatically across leaderships,” he says. “The first edition of Cartier’s headquarters was modest. Years later, they asked for grandeur—high doors, grand lighting, separate areas for men and women. By 2020, a new president had a new vision again.”

He also remains creatively attuned and observant of cultural nuances, incorporating them thoughtfully into his designs. In Hong Kong, for instance, he draws on bamboo and water—elements deeply embedded in Chinese culture. “In Tokyo and New York, my designs are completely different,” he says.

While his practice has grown stronger over time, he cautions that time alone is no guarantee of staying ahead. “Experience doesn’t always come with time. You have to understand different industries—only then can you evolve.”

He notes that in the past, designers in France tended to specialise in a single field, but he had the instinct early on to span multiple disciplines—hotels, furniture, fashion and more. “I was a generalist, in a way. But understanding different industries gives me new knowledge to develop and refine my skills.”

He has structured his schedule to reflect this interdisciplinary mindset. “Monday is architecture, Tuesday is furniture, and Friday through Sunday is for painting,” he says.

After four decades in design, Moinard still embraces transformation. “The one thing I learnt from working with the fast-paced fashion industry is that technology changes every five years,” he says. “We must keep learning and improving ourselves. Be water. Be adaptable. That way, even after 40 years in the industry, if any prestigious clients come to me, I will still be able to accommodate their needs.”

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