French farmhouse renovation in Provence: expert tips for success

A major farmhouse renovation in the Var carried out by a UK-based design company required serious planning and meticulous attention to detail. We asked Stephanie to reveal her project secrets… 

Tell us about yourself and your company

Decorbuddi is a UK-based interior design company, with projects extending into France – from the Alps to Provence.

I studied the history of textiles, and that has had a huge influence on how
I approach design. Historically, textiles were used for storytelling and reveal so much about the cultures that created them. My interest in narrative and
place naturally feeds into my interior design work.

How did this project come about and what made it so unique for you?

I was introduced to the client through a mutual friend, so there was trust from the outset.

The client spends a lot of time travelling and is a collector of both stories and objects. That resonated with me because of my own interest in global textiles and how different cultures express themselves through craft.

There was a real creative connection from the beginning, which gave us the freedom to explore ideas.

Where is the property and what is its history?

The property is an old olive farm in the hills of the Var region of Provence. Set in one of the beautiful hilltop villages overlooking the surrounding countryside, it has fantastic architectural bones – beautiful flagstone floors, heavy timber doors and lime-plastered walls.

The gardens are terraced down into the valley and there are ancient olive trees on the land.

One of the most interesting features is around the pool, where the original olive-pressing arches still remain.

Today they house the pool bar, shower room and pool house, and are a wonderful reminder of the building’s original purpose.

What was the client brief?

The brief was actually very simple: colour, authenticity and what the client described as “quiet wow”.

The project was a blank canvas. There were no existing artworks or furniture pieces to work around. Every element was sourced or designed to add to the individual character of the farmhouse.

We spent a weekend at the property with the client, talking through how he lived and how he wanted to use the house. That was incredibly valuable, as it enabled us to design around his personal lifestyle.

How did your approach differ from your usual UK-based jobs?

The biggest difference was working remotely. In the UK, I’m incredibly hands-on and would normally visit a site at least once a week.

In France, we didn’t have that luxury. We visited once to meet the client, once to measure up and then carried out two installation phases. It is a different way of working but, with careful planning, we achieved a huge amount on each visit.

Importantly, we had a trusted European building team we knew we could rely on. Having experienced people on the ground was absolutely essential.

How did you source artisans and other partners? 

The mural artist, Daisy, was someone I had worked with before and knew personally. When the client suggested scenic painting for the entrance hall, I immediately thought of her.

Other artisans came through local connections. Our building team developed local trade relationships, which led us to an excellent electrician, plumber and metal fabricator.

Some bespoke metalwork was made in Yorkshire, including bar stools and lighting, while local craftsmen restored gates and original features around the property.

How did you ensure that the farmhouse retained its French character?

We paid attention to what existed and evolved the design naturally. The house feels French because it belongs to its setting, rather than having a style imposed on it.

Inspiration came directly from the region. I spent time researching local artists, architecture and places such as the Fondation Maeght near Nice and the legendary Colombe d’Or, where artists such as Calder and Miró spent time.

One of the first things that caught my eye in the house was the hand-forged metal staircase. That style of metalwork can be found throughout southern France and across the Mediterranean. We used details like these as starting points for the wider design narrative.

The colours, materials and motifs all grew out of the landscape. The scenic mural, for example, references the Mediterranean pines and greenery that surround the property.

What problems did you encounter and overcome?

The property is on a hilltop and access is difficult. We couldn’t simply send a large furniture lorry to the front door. Deliveries had to be transferred onto smaller vehicles and brought up in stages.

We also had to navigate different building systems and construction methods. Removing elements of an en-suite shower room, we discovered that everything behind it needed rebuilding. In the end, it allowed us to create a beautiful free-form shower that suited the character of the house perfectly.

What three key pieces of advice would you give readers thinking of a major renovation in France?

Spend time understanding how you’ll actually live in the property before you begin the design process.

Be flexible. Every renovation uncovers surprises. Build in time and a contingency budget to solve unforeseen problems and make the most of opportunities when things don’t go exactly to plan.

Take the time to find people you really connect with. The most successful renovation projects are collaborative and depend on clear communication between client, designer, contractors and artisans.

Design: Decorbuddi designers Stephanie Bailey and Jo Miller

Photography: Kasia Fiszer