Beautiful Hotels in Paris

Three trucks pull onto Avenue George V every week with flowers from Amsterdam growers, some of whom grow for this address alone. Jeff Leatham has been arranging them since 1999, and the themes, the colours and the vase placements change every three weeks. Lefranc and Wybo drew the building around a sunlit inner courtyard, and it opened in 1928 with two bathrooms to a suite at a time when a single en-suite bath was rare in Paris. François Dupré bought the place in 1931, and a wing followed, its apartments let by the year or the season, their residents served by the hotel. Fourteen metres below ground the cellar occupies former stone quarries and keeps some fifty thousand bottles. Pierre-Yves Rochon, who did the interiors for the 1999 reopening, took three years to rework all 243 rooms and suites and finished in 2025, with the hotel open throughout. He laid them out as apartments rather than hotel floors, so vestibules stand where corridors were, the dressing rooms are modelled on couture ateliers, and there are libraries and rooms to eat in, with new French windows drawing the light deeper. The smallest category on the plan runs 37 square metres. Balconies have been planted out into small gardens, and in the Parisian Eiffel Suite the bathroom runs to white Carrara marble with Baccarat crystal taps. The Penthouse holds the top floor, three terraces to itself, and the Eiffel Tower in front of it. A garden of white orchids meets the eye first.

The bathtub in Les Grands Appartements was cut from a single slab of Carrara marble, and at over two tonnes it came in through a fourth-floor window on a crane, lowered onto two blocks of ice that melted slowly enough to set it down without damaging the floor. Louis XV had Ange-Jacques Gabriel raise two identical facades either side of the rue Royale in 1758. The Mint was meant to go in behind the western one, and when it went to the quai de Conti instead the ground was cut into four lots and sold to private buyers who had to build behind Gabriel's front. Louis-François Trouard, an architect trained under Gabriel, took the westernmost lot in 1775 and drew the house himself. François Félix de Crillon bought it as a family home in 1788, and it opened as a hotel in March 1909. The Corinthian colonnade and the Coustou sculptures across the front are a registered landmark. Everything behind it was built to fit. Rosewood reopened it on 5 July 2017 after four years of work. Richard Martinet ran the architecture under heritage protection covering the facade and the second-floor reception rooms, while Aline Asmar d'Amman took artistic direction and the interiors went to four Paris studios including her own. The job ran to 147 craftsmen and 250 master builders, 53 varieties of marble, and 17,000 cubic metres excavated from under the building. There are 78 rooms, 36 suites and ten signature suites. Those ten are where the history sits. Karl Lagerfeld decorated the two on the fourth floor facing the Concorde, Suite Jardin runs to a rare green marble that answers the planting in the Cour d'Honneur below its terrace, and Chahan Minassian put the three Ateliers d'Artistes under the mansard roof in what were once the administrative offices. Downstairs the listed salons keep ceilings from 1775 and 1776 that clear six metres, and the Salon des Aigles saw two signings, the treaty in which France recognised American independence in 1778 and the Covenant of the League of Nations in 1919. They are still let for events.

Socrate arrived in 2021 to a letter of welcome from Emmanuel Macron, and he has had the run of the lobby ever since. He is the latest of the hotel's cats, and he keeps his own hours. Hippolyte Jammet bought the old Castellane property in 1923 and had it pulled down, handing the site to Gustave Umbdenstock and Urbain Cassan, who raised an Art Deco palace in its place. It opened in April 1925, named for Frederick Augustus Hervey, fourth Earl of Bristol, a bishop who crossed the Continent in the eighteenth century asking for more comfort than most places could supply. The American embassy ran out of the building from June 1940, and Rudolf August Oetker bought it in 1978, since when it has stayed in his family. No two of the 188 rooms repeat, which is less flourish than consequence: locksmiths, carpenters, marble workers and decorative painters keep workshops on the premises and make whatever the house needs. For the centenary in 2025, Elvira and Narcisa Oetker reworked the Suite Impériale with the architect Pierre-Yves Rochon and the painter George Condo, whose pictures now hang across its 3,444 square feet, with a connecting bedroom left as his studio and the easel and paints still in it. The door handle he designed for it is solid gold. Arabella Lennox-Boyd redrew the garden in 2017 across three parts, a courtyard of pleached hornbeam and black slate rills, a woodland stretch, and an upper terrace of topiary under treillage. All of it sits on roof slabs above an underground garage, with almost no soil to plant into. The spa's eight treatment rooms, on three floors of their own, open onto it. Pinnau, who drew the yachts of Onassis and Niarchos, built the pool six floors up and worked the room into a ship, a wooden deck around the water, a painted sail over the ceiling and a mural of passengers at the bow looking off toward Cap d'Antibes. The Eiffel Tower stands in the far window.

The bow windows along the quai du Louvre were kept rather than replaced, and behind the glass sit the winter gardens of the Seine junior suites, each one turned to the water. The building runs along the riverbank between the Louvre and the Pont Neuf. Henri Sauvage designed this river front in 1928, plain cream stone with the top floors stepping back, after the city refused to let the store's art nouveau carry on along the Seine. The shop closed for safety in 2005 and stayed shut sixteen years while LVMH rebuilt the block around it, Édouard François running the conversion of the Sauvage building into a hotel and handing it over in 2019. Cheval Blanc opened in September 2021, and Atout France added it to the list of French palaces in June 2026. All 72 rooms and suites take the building's art deco as a starting point and finish contemporary, with marble bathrooms, a bathtub and a walk-in hammam shower in each, and a dressing room kept separate from the bedroom. The two scents in the rooms, Parisian Chic Boisé and Parisian Chic Poudré, were made for the house by François Demachy, formerly the perfumer at Maison Dior. Peter Marino did all of it. At the top, the Quintessence Suite spreads over the eighth and ninth floors as a tribute to Claude and François-Xavier Lalanne, and joins the Ravel Suite to make a thousand square metre apartment with seven bedrooms, a private lift and its own parking space. The Dior Spa Cheval Blanc runs a thirty metre pool, and Le Carrousel, the children's club, is free and open every day. A majordome is on call at any hour.

Every room has a valet box. Shoes go out for shining, laundry goes out and comes back, the morning paper comes in, and the only door anyone has to open is that one. Number 19 avenue Kleber was a private palace long before it was a hotel, raised in 1864 by a Russian count who wanted a Versailles of his own, then home to Isabella II of Spain, who lived there in exile until 1904. Leonard Tauber put a grand hotel on the site and Armand Sibien's Majestic opened in 1908. The French state bought the building in 1936, and UNESCO's preparatory commission moved in from London on 16 September 1946 and worked there until 1958, secretaries sharing the largest bedrooms with their files stacked in the wardrobes. The Paris Peace Accords were signed in 1973 in the oak-panelled room that is now the bar. Putting it back took stone from the same quarries at Saint-Leu-la-Foret, Chauvigny and Comblanchien that supplied the 1908 facade, and twenty masons from Degaine to recut what had gone missing, a single cascade of carved flowers costing one of them three weeks. In the lobby hangs Ludek Hroch's Dancing Leaves, eight hundred hand-blown plane leaves each modelled on a real one, the plane tree being what Paris happens to share with Hong Kong. Around three thousand people worked on the building. Two hundred rooms now, ninety-three of them suites, and the art on their walls is drawn from a house collection of 1,379 pieces. Deluxe Rooms look onto avenue Kleber, rue de Perouse or the courtyards and start at 1,240 euros a night, while the Rooftop Eiffel Suite runs to 139 square metres with a garden of its own. Every room has a walk-in dressing room and a vanity area. The nail dryer is built in.

Roland Bonaparte raised the house on Avenue d'Iéna in the 1890s to hold his family, a geography library that grew to some 150,000 rare volumes and a herbarium that left for Lyon after his death in a convoy of twenty railway wagons. His apartment on the second floor is now a suite. Ernest Janty drew it in a Louis XIV manner, with lion-head consoles carrying the balconies and atlantes on the facade. After the prince it went to the Suez Canal Company, and then to the state, which installed the national foreign-trade office and held the building until Shangri-La bought it in 2005. The order of February 2009 protects the facades and roofs of the house and the caretaker's pavilion, the street railing, the staircase of honour in full, and the decorated rooms from the ground-floor galleries and billiard room up to the prince's salon on the second. Richard Martinet took the architecture and Pierre-Yves Rochon the interiors, and the hotel opened in 2010. The Palace distinction followed four years later. A hundred rooms and suites sit above those floors, the Eiffel View ones running 45 square metres and holding the tower in their French windows, while the duplex suites take theirs through windows two storeys high. The marble bathrooms have heated floors and a television set into the mirror. The smallest rooms face the courtyard, or a glass cupola. L'Appartement Prince Bonaparte takes 315 square metres of the second floor, with gilt crown moulding under five-metre ceilings, Versailles parquet running the length of it, a dining room that seats eight and a butler's kitchen behind. Its balconies give onto Avenue d'Iéna and the Guimet Museum. The apartment is a listed monument.

Behind the red arch at 42 avenue Gabriel, arrivals are received in the Louis XV Salon and walked to their room. There is no reception desk. Michel Reybier bought the building in 2009 and had everything behind the stone facades taken out, with Bach & Nguyen on the architecture and Jacques Garcia on the interiors. The main staircase was reassembled afterwards, and the molded ceilings and marble fireplaces restored. It went up in 1854 for the family of Charles de Morny, a half-brother of Napoleon III, stayed with them until 1888, and ended its working life as the Résidence Hôtel Maxim's under Pierre Cardin. It opened as a hotel in January 2015. Garcia worked in Second Empire and Belle Epoque registers: silk hung walls, damascene brocade, herringbone oak parquet, antique furniture, bathrooms in Turquin blue and Carrara marble. The suites take the first floor to the fifth and run from 50 square metres to over 200, no two alike, the largest keeping their own Grand Cru cellars. The Eiffel suites all look onto the avenue, with the tower rising clear beyond it. From the Duc de Morny suite the glass roof of the Grand Palais shows through the avenue trees, and a hidden door runs from bedroom to entrance for an exit nobody sees. Fifteen rooms, twenty-five suites, a butler on each. A library is kept for guests and whoever they bring, there is a smoking lounge, and the sixteen metre pool went into the basement so the formal rooms above were left alone. The house holds the Palace distinction, which France grants above the five star grade. The point was never scale.

Above the corner of avenue George V and rue Pierre Charron, the penthouse terrace is planted with oaks, magnolias, redcurrant bushes, apple and pear trees. The building underneath it was a 1970s office block. Bvlgari opened at number 30 on 2 December 2021. ACPV Architects, the Milanese studio of Antonio Citterio and Patricia Viel, restyled the eleven storeys with the French firm Valode et Pistre, clad them in pierre de Paris and ran the Parentesi motif along the outside. Marble, granite, silk wallcoverings and varnished eucalyptus carry the palette indoors, with lacquer, parchment and straw marquetry from French ateliers working in the manner of Jean-Michel Frank. Lison de Caunes laid the straw. Of the 76 rooms and suites, 57 are suites. The 25 Junior Suites look out over avenue George V with nothing in the way, while the seven Executive Rooms Terrace, 42 square metres each, take a private twelve square metre loggia onto the courtyard. The penthouse holds the top two floors, 400 square metres with another 600 of terrace and garden. Its bathroom is bookmatched Arabescato throughout. The spa takes 1,300 square metres over two levels in Vicenza stone from the Veneto, and the 25 metre pool is lined in mosaic, emerald and jade and malachite run through with gold. Requests reach the staff by message, and they run to Berluti shoe care. Atout France added the hotel to its Palace list on 2 June 2026, one of six new names and one of thirteen in Paris. The distinction lasts three years.